16 AUG – 15 SEP Touring nationally

George Balanchine Vasily Vainonen Andrea Schermoly William Forsythe SERENADE FLAMES OF PARIS STAND TO REASON ARTIFACT II © THE GEORGE BALANCHINE TRUST PAS DE DEUX CONNECT WITH US rnzb.org.nz Vodafone is proud to be the digital connectivity facebook.com/nzballet partner of the Royal New Zealand Ballet – delivering twitter.com/nzballet mobile and broadband solutions to keep you and the instagram.com/nzballet Company connected almost everywhere they travel. youtube.com/nzballet Follow the RNZB on social media today. SERENADE George Balanchine ROYAL NEW ZEALAND BALLET

© THE GEORGE BALANCHINE TRUST Artistic Director Patricia Barker INTERVAL Executive Director Lester McGrath Ballet Masters Clytie Campbell, Laura McQueen Schultz, Nicholas Schultz, Michael Auer FLAMES OF PARIS PAS DE DEUX Vasily Vainonen Principals Allister Madin, Paul Mathews, Simone Messmer §, Katharine Precourt, Mayu Tanigaito, PAUSE Nadia Yanowsky Soloists Sara Garbowski, Kate Kadow, Shaun James Kelly, Fabio Lo Giudice, Massimo Margaria, STAND TO REASON Andrea Schermoly Katherine Minor, Loughlan Prior, Joseph Skelton INTERVAL Artists Cadence Barrack, Luke Cooper, Rhiannon Fairless, Kiara Flavin, Madeleine Graham, Kihiro Kusukami, Minkyung Lee, Yang Liu*, Anneliese ARTIFACT II William Forsythe Macdonald§, Nathan Mennis, Olivia Moore, Clare Schellenberg, Kirby Selchow, Katherine Skelton, Laurynas Vėjalis, Leonora Voigtlander, Caroline Wiley, Wan Bin Yuan Todd Scholar Teagan Tank Apprentices Georgia Baxter, Ella Chambers, Lara Flannery, Vincent Fraola, Calum Gray, Kaya Weight On secondment Callahan Laird, New Zealand School of Dance Nicole Denney, Dmitri Kulev Classical Ballet Academy, California Arabella Moore, The Dance Education Centre, Tauranga § Guest dancer for Bold Moves. *On parental leave. For casting, please see the screens and free cast sheets available in the foyer. , 2018. Reason to in Stand Wiley and Caroline Kadow Kate / Mayu Tanigaito, Cover , 2018. Reason to in Stand Garbowski and Sara This page / Mayu Tanigaito BOLD MOVES

As beautiful and wonderful as full-length ballets are, I am always excited about a mixed bill. The depth and reach of the dancers’ talents are showcased, their versatility and dynamic range are stretched and their athleticism shines. The four works in today’s performance truly sheer brilliance that each of them brings to showcase all that is great in dance from the the stage in this little jewel of a work. sublime beauty of George Balanchine’s iconic Stand to Reason, a work I commissioned in work, Serenade, to the bravura pas de deux, 2018 for our Strength & Grace programme Flames of Paris, to Stand to Reason as it has continued to gain popularity. Recently takes its rightful place among great ballets performed at the Wanaka Festival of Colour to to Artifact II with its showcase of the rave reviews the work showcases the strength physicality and endurance that a magnificent of unity and the power and depth of artistry dancer can achieve. from our beautiful female dancers. This is a Serenade stands out in the DNA and history of work worthy to call the next generation of the company; performed here last in 1985 it great dance. I am very proud of our ballet stands as a rite of passage for any major ballet master Laura Schultz and those from the company in the world. I have enjoyed every original cast for meticulously re-staging the moment staging this work for the company, work with great care and commitment. the hours spent in the studio bringing this Artifact II is pure brilliance, beginning where beautiful ballet alive with the dancers have Balanchine left off. Forsythe takes the human been joyous, and getting to know each and body and elongates the line and structure every one of them better through their bringing our attention to that of the negative dedication and hard work has been a true space that surrounds the body during pleasure. I thank Michael Auer for all his help movement. The work demands athleticism, and assistance during the staging process and endurance, utter abandonment to the music for the care he has taken with each dancer as and commitment to the steps. The work leaves we have breathed the technique and freedom me breathless as I watch the physical demands of Balanchine movement to them. and the sheer brilliance of movement on stage. I have added a wonderful bravura pas de A big thank you to Thierry Guiderdoni for deux from the full-length ballet Flames of bringing his knowledge and energy to the Paris. A true iconic show case for the most staging of this work. talented of dancers. It stands out as one of I can only hope that the works in today’s the greatest challenging pas de deux of all performance move you, delight you and time. I could not be more proud of the leave you breathless. dancers for throwing themselves at the challenges this work has to offer and for the PATRICIA BARKER | Artistic Director Kia ora and welcome to Bold Moves, presenting three definitive dance works (plus a little extra!) to audiences in Wellington, Auckland, Palmerston North, Christchurch, Dunedin and Napier this winter. The four works which make up Bold Moves Wellington Partner Wellington City Council, are the first to be rehearsed at our new Dance Northern Partner Foundation North and Centre on Wakefield Street. It has been Telecommunications Partner Vodafone. exciting to see how Wellingtonians of all ages I would also like to give a special thank you are taking the opportunity to watch the to our hundreds of personal supporters from dancers at work through the studio windows. all over New Zealand, especially the Friends It’s also been a pleasure to welcome visitors of the RNZB, members of the Dress Circle, into the studio and our costume facility over donors to the Annual Appeal, supporters of the last few weeks, including our professional the Ballet Foundation of New Zealand and development seminars for dance teachers our growing family of ‘Partner a Dancer’ from throughout New Zealand and Australia, donors. Thank you also to the supporters held during the July school holidays. who are contributing to our fundraising The choreographers whose works are initiatives for our brand new Hansel & Gretel performed in Bold Moves made, and in the – Christmas is not too far away, and we case of William Forsythe and Andrea couldn’t be more excited about this wonderful Schermoly, are still making, ‘bold moves’ world premiere! of their own: leaving friends and family Last, but not least, thank you to you, our behind in order to make art in a new place audiences. I hope you will have a wonderful and forging their own, distinctive, creative time at Bold Moves! path. We all need that courage and Nō reirā, tēnā koutou katoa, conviction in our lives. We also need the support of people who believe in our work, LESTER MCGRATH | Executive Director and I am as always pleased to acknowledge the help of the organisations and individuals whose support and encouragement underpins everything that we do. Our grateful thanks go to the Ministry for Culture and Heritage Te Manatū Taonga, National Touring Partner Pub Charity Limited, Season Sponsor Ryman Healthcare, Major Media Partner MediaWorks, BOLD MOVES

SERENADE

‘ I knew and loved Tchaikovsky’s Created for students at the newly formed Serenade ever since I was a child. School of American Ballet, Serenade is I always wanted to choreograph to one of the few ballets that can be described as iconic. it. And it turned out to be my first ballet in America. I hadn’t planned 85 years after its premiere, it has become synonymous with American ballet, instantly it, it just happened that way.’ recognisable to ballet lovers around the world GEORGE BALANCHINE1 and a potent symbol of Balanchine’s breathing new life into the Russian ballet traditions in Choreography George Balanchine which he was steeped, and which he had © The George Balanchine Trust transported to a new country. Stager Patricia Barker ‘I’m not very old, but I still remember that world, Assistant to the stager Michael Auer which is gone forever. I was born and raised in Music Pyotr Ilyich Tchaikovsky the old Russia… some ten years after Tchaikovsky’s death. [Marius] Petipa Costumes Barbara Karinska [choreographer of Swan Lake and The Sleeping Lighting realisation Nigel Percy Beauty] died when I was about six years old. But Tchaikovsky and Petipa were alive for me. And people around me talked about them as if they were alive… when I was creating Serenade, Tchaikovsky encouraged me. Almost the whole Serenade is done with his help.’2 The ballet begins with seventeen women onstage, poised, motionless and simply clad. What unfolds is plotless, yet somehow laden with meaning and unspoken narratives, as the dancers fill the stage with exquisite movement and with deep emotion. Balanchine later related how the ballet’s structure came about by chance: on the first day of rehearsals he had seventeen dancers; another day only seven. Sometimes he had men as well as women; one day one of the women was late; one day another one fell in the studio. All looks back to the 18th century in its transparent these happenings became part of the ballet. orchestration and elegant, flowing melodies In early stagings of Serenade, the dancers in – very different to the Second Piano Concerto, solo passages came from and returned to the Capriccio Italien and the 1812 Overture, the corps de ballet. Over time, this has changed which were also completed in 1880. It is with a number of solo roles being cast. These interesting to contemplate how a work which include the ‘Waltz Girl’, the ‘Russian Girl’ and was never intended as anything other than a the ‘Dark Angel’. The roles are not ‘characters’ concert piece, should now be so closely delineated by difference in costume or status identified with an iconic ballet, especially given as you might see in other ballets, but rather Tchaikovsky’s status as the first truly great are nicknames, identified with particular composer of ballet music. choreography and music, and with any The four movements of Tchaikovsky’s deeper meaning left to the dancer’s – and Serenade are: indeed the audience’s – own interpretation. Pezzo in forma di sonatina: Andante non The first performance of Serenade, on 10 troppo – Allegro moderato June 1934, took place outdoors, at a summer Valse: Moderato – Tempo di valse festival at the estate of banker and Élégie: Larghetto elegaico philanthropist Felix Warburg in White Plains, New York. It was the first performance by Finale (Tema russo): Andante – Allegro con spirits Balanchine’s students outside their studio. Tchaikovsky tried to give a flavour of Mozart’s Over the following months, Balanchine style in the first movement in particular, which refined the ballet, with the official premiere takes the form of a Classical sonatina. The taking place in New York on 1 March 1935. stirring introduction to the first movement, Balanchine continued to make small marked for the orchestra as ‘sempre alterations for the next twenty years, with marcatissimo’ or ‘always strongly accented’ Karinska’s celebrated ‘moonlight blue’ recurs several times throughout the Serenade, costumes being added to the staging in 1952. tying the work together.

Balanchine loved Tchaikovsky and particularly In a programme recorded for National Public the Serenade in C major Opus 48 for string Radio, conductor Marin Alsop, whose parents orchestra, which had been composed in 1880. played in the orchestra of New York City Ballet Like the Variations on a Rococo Theme Opus when Balanchine was at its helm, recalled: 33 and Mozartiana Opus 61, the Serenade for ‘I remember ‘Mr B’ standing at the edge of the Strings is one of Tchaikovsky’s works which orchestra pit, towering over the musicians –

1 Solomon Volkov, Balanchine’s Tchaikovsky: interviews with George Balanchine, translated from the Russian by Antonina W Bouis, p129, Simon & Schuster, New York, 1985 2 Ibid. BOLD MOVES

but eye to eye with the amazing (and very GEORGE BALANCHINE large) conductor, Robert Irving – yelling – George Balanchine transformed the world of ballet. ‘follow the music, listen, hear the music, let He is widely regarded as the most influential the music lead you!’ I was both terrified and choreographer of the 20th century, awestruck as Tchaikovsky’s majestic opening and he co-founded two of ballet’s most important chords rang out in the darkness… for me, institutions: New York City Ballet and the School of Balanchine’s Serenade is the coming American Ballet. together of many stories, many circles and a Born in St. Petersburg, Russia, in 1904, Balanchine celebration of our deep connection as studied at the Imperial Ballet School in St Petersburg, human beings. Every time I hear and danced with the Maryinsky Theatre Ballet Company, where he began choreographing short Tchaikovsky’s music, or conduct it, I can’t works. In 1924, Balanchine left the newly formed help but think of all those years ago, Soviet Union for Europe, where he was invited by watching the proud Russian choreographer impresario Serge Diaghilev to join the Ballets Russes. who ended up in America and who created After Ballets Russes was dissolved following Diaghilev’s one of the world’s best ballet companies.’ death in 1929, Balanchine spent his next few years on The first performances of Serenade in New a variety of projects in Europe and then formed his Zealand were given by the New Zealand own company, Les Ballets 1933, in Paris. There, he met Ballet Company, under the artistic direction American arts connoisseur Lincoln Kirstein, who of Una Kai, in 1975. Una Kai led what is now persuaded him to come to the United States. In 1934, the RNZB from 1973 – 5 and had worked the pair founded the School of American Ballet, which closely with Balanchine at New York City remains in operation to this day. Ballet. She was the first Artistic Director to Balanchine and Kirstein formed Ballet Society in introduce works by Balanchine into the 1946, renamed New York City Ballet in 1948, and company’s repertoire, and the choreographer Balanchine served as the company’s ballet master from that year until his death in 1983, building it helped her in this endeavour by not charging into one of the most important performing arts the company any royalties for their institutions in the world, and a cornerstone of the performances. A further RNZB connection cultural life of New York City. He choreographed with Serenade came through former Artistic 425 works, many of which are performed by ballet Director (1981 – 92) the late Harry companies all over the world. Haythorne, who created the score of Courtesy of and adapted from New York City Ballet. Serenade in Laban dance notation (‘Labanotation’) that is now held in the Dance Notation Bureau in New York.

3 Marin Alsop on Deceptive Cadence: Shall We Dance: Balanchine Sets Tchaikovsky In Motion, National Public Radio (USA), 20 April 2018 BARBARA KARINSKA TCHAIKOVSKY’S MUSICAL LEGACY Barbara Karinska (1888–1983) was one of the most Tchaikovsky was 53 when he died in 1893. By this influential costume designers of the 20th century stage he was already recognised in Western Europe and was particularly famed for her creative and the United States as one of the outstanding partnership with George Balanchine. symphonists of the nineteenth century. Virtually Karinska was born Varvara Ivanovna Zhmoudska in every work that he had composed in this genre was Kharkov, Russia. She originally trained in embroidery by then established in the concert halls. and emigrated to Paris in 1923. She first constructed Few music lovers today need an introduction to his ballet costumes in 1932 for the debut season of the six symphonies, his concerti, his operas – Eugene Ballets Russes de Monte Carlo, which included three Onegin and The Queen of Spades – or his three works by Balanchine. She quickly won renown for her magnificent ballets – Swan Lake, The Nutcracker exquisite craftsmanship, taste and imagination, and The Sleeping Beauty. Tchaikovsky’s influence in interpreting dance designs by figures such as Russian music is incalculable. ‘There is not a single Matisse, Picasso, Chagall and Beaton. She moved to Russian composer of the latter nineteenth or early New York in 1939 and went on to construct and twentieth centuries,’ wrote Dmitri Shostakovich, ‘who design costumes for opera, dance, on Broadway and is not indebted in some measure to him.’ Said in Hollywood, and in 1948 shared an Academy Award Stravinsky, ‘Tchaikovsky possessed the power of with Dorothy Jeakins for Best Costume Design melody, centre of gravity in every symphony, opera or (Colour) for Victor Fleming’s Joan of Arc. She ballet composed by him… he was a creator of melody… worked with Balanchine’s company Ballet Society an extremely rare and precious gift. Tchaikovsky (later New York City Ballet) from its inception in possessed these gifts to the fullest extent.’ 1946 to the end of her career, and in 1964 devoted Adapted from a programme note for Swan Lake her shop exclusively to NYCB. In all over 28 years she by Ashley Heenan. created costumes for 48 works for the company. Karinska’s innovations in costume design included a THE RECORDING USED FOR ALL PERFORMANCES IS stronger and more flexible tutu. Her dance designs are remarkable for the clarity with which they allow Serenade for Strings in C Major Opus 48 a dancer’s line to be seen, a quality particularly vital Composer Peter Ilyich Tchaikovsky for Balanchine’s choreographic language. New York City Ballet Orchestra, Conductor Robert Irving Adapted from the Royal Opera House. From the Album A Balanchine Album Label Nonesuch Courtesy of Warner Music

Previous page / Kirby Selchow, Kate Kadow, Katharine Precourt and Katherine Minor in rehearsal for Serenade. Serenade, 1975. Photograph by Martin Stewart, RNZB Collection, PAColl-8050-28-42, ATL. BOLD MOVES

FLAMES OF PARIS PAS DE DEUX

mix of historic and imagined characters, Choreography Vasily Vainonen including Louis XVI and Marie Antoinette. Stagers Patricia Barker and Michael Auer The pas de deux, most often seen by itself as Music Boris Assafieff a gala showpiece, is a celebration of freedom, in which the revolutionary hero and heroine, Costumes Patricia Barker Philippe and Jeanne, celebrate their marriage Lighting realisation Nigel Percy as the first newly-weds of the new Republic.

After the Russian Revolution, there was a Once a rarity, particularly on Western stages, Flames of Paris has enjoyed renewed movement in the Soviet Union for ballets popularity in the post-Soviet era. New to tell stories which, while retaining much productions have recently been staged by of the classical forms which had the Mikhailovsky Ballet, with the original flourished under the Tsars, would choreography reconstructed by Mikhail showcase revolutionary ideals and be Messerer, and by the Bolshoi Ballet, with an more ‘relevant’ to the proletariat than altered scenario and revised choreography those with their roots in the Imperial by Alexei Ratmansky. court, such as The Sleeping Beauty.

THE RECORDING USED FOR ALL PERFORMANCES IS The French Revolution was the perfect subject, and Flames of Paris, a ballet in four acts, was Flames of Paris pas de deux created for the Kirov Ballet by Vasily Vainonen Composer Boris Assafieff in 1932, to a score by Boris Assafieff, to mark Performed by The Sofia National Opera Orchestra Conductor Boris Spassov the 15th anniversary of the October revolution. From the Album Pas De Deux The Ballet Experience It went on to win the Stalin Prize and was Label Capriccio Records said to be the dictator’s favourite ballet. By kind permission of TritonAV Flames of Paris is an epic production, set on the eve of the French Revolution and with a VASILY VAINONEN Vasily Vainonen (1901 – 64) spent his entire ballet career under the Soviet system. His reputation as a choreographer rests almost entirely on Flames of Paris, although his version of The Nutcracker (1934) remains in the repertoire of the Mariinsky Ballet (formerly the Kirov) to this day and influenced other Russian choreographers, notably Mikhail Baryshnikov. Vainonen is remembered chiefly for his new versions of classic ballets such as Raymonda and The Sleeping Beauty, which he created for the Kirov and latterly for his own company at the Novosibirsk Opera and Ballet Theatre, which he directed from 1951 – 53.

BORIS ASSAFIEFF Boris Assafieff (1884 – 1949) was born in St Petersburg. He was a composer, writer (under the pen name of Igor Glebov), critic and musicologist, and very influential in Soviet music. Like Vainonen, he was a laureate of the Stalin Prize (1948), though for his musicology, not his compositions. He wrote a number of successful ballets, drawing particularly on Russian history and literature, three operas, five symphonies, concerti and chamber music. His importance in Soviet musical life can be appreciated by the young Prokofiev’s dedication of his first symphony, premiered in 1918, to Assafieff.

Guest principal Simone Messmer. Background: Cadence Barrack. BOLD MOVES STAND TO REASON

the Women’s Christian Temperance Union Choreography Andrea Schermoly that stated ten clear reasons as to why Stager Laura McQueen Schultz women should vote. They are thought Music Johann Paul von Westhoff, Ludwig van provoking as some of these reasons, albeit Beethoven, Marin Marais forthright, seem horribly archaic and Costumes Donna Jefferis and Esther Lofley, arbitrary. The fact that women should have Royal New Zealand Ballet to draw such stark, written articulations and obvious comparisons of reasonings to Projection design Will Funk convince men of their worth is saddening Lighting design Andrew Lees actually. Our humanity is just not assumed Lighting realisation Nigel Percy and that is still an issue today elsewhere. I’m drawn to awkward, perhaps quirky Stand to Reason was the fourth and final movement that strikes an emotional chord work commissioned for the Strength & and is a deeper portal to internal struggle. Grace suffrage celebration performances My aesthetic is clean, I would say, still rooted presented at the Opera House in in some form of classical contemporary but Wellington in August 2018. has a strange organized chaos about it. I pack movement in quite tightly and enjoy the It has subsequently been performed at the physical and emotional challenge that comes Wanaka Festival of Colour (2019), and the with the doing of it. demanding solo created on Kirby Selchow was also performed as a stand-alone work I enjoy working with the bodies in front of at the Nelson Arts Festival in October 2018. me, with the souls in front of me and try my best to collaborate in a way that is fulfilling Andi Schermoly writes: for the dancers too. I don’t pre-set steps too Patricia invited four female choreographers, much as I’m inspired by each new individual’s including me, to celebrate the 125th character and contribution to the work. I anniversary of New Zealand granting women don’t know if my process is unique, to be the right to vote. She explained it as a time honest. I know I try to remain positive and to celebrate women, dance and New Zealand encouraging and give the artists room to and have free rein as to how we could bring themselves to the plate, I hope. interpret that and/or showcase it. Movement motifs are difficult for me to Whilst researching New Zealand’s suffrage describe but I’d say I place an emphasis on arm movement, I was most intrigued with a movement. It feels descriptive and evocative pamphlet that circulated via the activists of to me, personally. I have tried to keep a mass of people moving together more as well, which work of sensitivity, depth, and intelligence. is a new challenge for me. The Women’s Christian Temperance Union The music is repetitive but nuanced and lends distributed a pamphlet describing ten clear itself to a feeling of ongoing persistence: the reasons why women should vote, and it is persistence of women trying to get their point this heartfelt, logical writing that underpins across. I archive music constantly and find myself Stand to Reason. Schermoly’s comments drawn to things, sometimes years later, if it is about women’s experiences of having to where my imagination and themes are dwelling. explain and re-explain (our reasons, our value, our worth, our experiences, the The costumes are designed by Donna Jefferis challenges to our authority and equality) and are uniform black dresses that unite the resonated with many audience members. In women as well as allow for their bodies to be this way, the work was simultaneously the vessels of thought without too much historically accurate and poignantly current. costume talking. Eight women, costumed perfectly in black, Who are the women that inspire me? I’m a great epitomised the Royal New Zealand Ballet at admirer of my fellow South African, Charlize its contemporary best. Abigail Boyle, Theron and take inspiration from her as a strong Madeleine Graham and Mayu Tanigaito willed, self-realised, unique, social activist artist. contributed powerhouse performances with I don’t think I can say what the audience will extension, stability and attack, mastering think or feel. I hope to convey an idea of emotionally rich choreography with the ongoing need for change and the fact that elusive illusion of grace. Set to a mixed score, women have to remain relentless and Stand to Reason finishes with Beethoven’s persistent in their causes for equality and Moonlight Sonata, an instantly recognisable human rights. I’m inspired by the strength and piece of music that could easily overshadow beauty of the artists of the RNZB and the a lesser choreography. Schermoly gifted complete humility to try something new and Kirby Selchow with the standout solo of the bite in. It provides for fun and new discoveries. Strength & Grace programme, and Selchow

ANDREA SCHERMOLY, AUGUST 2018 rose to the occasion, demonstrating that she is at the peak of her physical power, with AUCKLAND ARTS JOURNAL vitality and presence in spades. Stand to THEATRE SCENES, AUGUST 2018 Reason resonates with emotion at the end, Critic Brigitte Knight was unequivocal in her the women crouched on the floor yet praise of Stand to Reason: shaking with determination. Schermoly approached the provocation of the season academically, and the result is a BOLD MOVES

TEN REASONS WHY THE WOMEN 5 / Because in the quietude of home women are

8 OF NEW ZEALAND SHOULD VOTE less liable than men to be swayed by mere party This is the text of a leaflet published by the feeling, and are inclined to attach great value to

8 Women’s Christian Temperance Union in uprightness and rectitude of life in a candidate. May 1888, which was sent to every member 6 / Because the presence of women at the 8 of the House of Representatives. polling-booth would have a refining and 1 1 / Because a democratic government like that purifying effect. of New Zealand already admits the great 7 / principle that every adult person, not convicted Because the votes of women would add of crime, nor suspected of lunacy, has an weight and power to the more settled and inherent right to a voice in the construction of responsible communities. laws which all must obey. 8 / Because women are endowed with a more

2 / Because it has not yet been proved that the constant solicitude for the welfare of the rising intelligence of women is only equal to that of generations, thus giving them a more far- children, nor that their social status is on a par reaching concern for something beyond the with that of lunatics or convicts. present moment.

9 / 3 / Because women are affected by the Because the admitted physical weakness of prosperity of the Colony, are concerned in the women disposes them to exercise more habitual preservation of its liberty and free institutions, caution, and to feel a deeper interest in the and suffer equally with men from all national constant preservation of peace, law, and order, and errors and mistakes. especially in the supremacy of right over might.

10 / 4 / Because women are less accessible than Because women naturally view each men to most of the debasing influences now question from a somewhat different standpoint brought to bear upon elections, and by doubling to men, so that whilst their interests, aims, and the number of electors to be dealt with, women objects would be very generally the same, they would make bribery and corruption less would often see what men had overlooked, and effective, as well as more difficult. thus add a new security against any partial or one-sided legislation.

Source: nzhistory.govt.nz ANDREA SCHERMOLY THE RECORDINGS USED FOR ALL PERFORMANCES ARE CHOREOGRAPHER Violin Sonata No 3 in D minor – Grave Andrea Giselle Schermoly was born in South Africa. Composer Johann Paul von Westhoff She trained at the National School of the Arts, From the Album Sonatas pour Violin et Basse Johannesburg and on full scholarship at both Continue Rambert Ballet and Contemporary School and The Performers David Plantier (violin), Andrea Marchiol Royal Ballet School, London. She competed (harpsichord) internationally for the South African National Label © Zig Zag Territoires, distributed in Rhythmic Gymnastics Team. Andi danced New Zealand by Ode Records, courtesy of professionally for Boston Ballet and the Netherlands Outthere Music, SA Dance Theater (1&2). She is the resident choreographer at Louisville Ballet Company. Sonata No. 14 in C sharp minor ‘Quasi una fantasia’ Op. 27 No. 2 ‘Moonlight’ She has created for Ballet Met, the Royal New Zealand Ballet, Cape Dance Company, Kansas City Composer Ludwig van Beethoven From the Album The 55 Best Relaxing Piano Songs Ballet Company, State Street Ballet, Grand Rapids Performer London Piano Consort Ballet, Louisville Ballet Company, Santa Barbara Label © Foodcourt Records – X5 Music Group Dance Theater, Festival Ballet Theater, Ballet Theatre Afrikan, Quixotic Cirque Noveau, Boston Le Badinage 4eme livre de pieces de viole Ballet 2, Joffrey Ballet Concert Group, The Juilliard Composer Marin Marais School solos evening and directed and From the Album Tous les matins du monde choreographed a dance narrative film for the Ashley Performer Jordi Savall Bouder Project. She has won the YAGP outstanding Label ALIA VOX choreographer award three times. Her duet Kubler Courtesy of Alia Vox Ross for Joaquin de Luz and Maria Kochetkova has been performed internationally at Lincoln Center, Previous page / Kate Kadow, Mayu Tanigaito, Madeleine Champs Elyseé, Paris and Buenos Aires. Graham, Sara Garbowski, Caroline Wiley and Marie Varlet in Stand to Reason, 2018. Andi has choreographed for feature films, commercials and music videos including ‘Beautiful Now’, ‘Bunheads’, Justin Bieber/Poo Bear and Deorro and choreographically assisted on projects as diverse as the Budweiser Superbowl Commercial and Star Trek into Darkness. BOLD MOVES

ARTIFACT II

Artifact was created in 1984 and is the first Choreography William Forsythe full-length work that Forsythe made in his Stager Thierry Guiderdoni years in charge of Frankfurt Ballett, a time Music J S Bach when he began consciously to extend the language of ballet into a new fractured, Stage, light and costume design William Forsythe hyper-extended and inquisitive form fit for Technical preparation Tanja Rühl the late 20th century. Technical supervisor Patrick Lauckner “I had to find my way around Balanchine, Lighting realisation Nigel Percy Petipa, Cranko, MacMillan, the whole crowd,” he [Forsythe] says. “I realised I had to move The Royal New Zealand Ballet is honoured on.” His progress took place, as that remark makes clear, in the context of all that had gone to perform Artifact II, the second work before, and Artifact, a four-act ballet apparently by William Forsythe that we have been in the traditional mode, is a ballet about ballet privileged to perform, and would like to – or as Bennetts describes it “Bill’s ode to ballet”. thank stager Thierry Guiderdoni and The starting point was the Chaconne from Alexandra Scott, Managing Director of Bach’s Partita No 2 in D minor for solo violin, Forsythe Productions in Frankfurt, for which forms the music for the second act. their support in bringing this ballet to Forsythe’s rehearsal pianist, at that time, was New Zealand. a woman called Eva Crossman-Hecht, a ‘It references Balanchine, whom I am so Juilliard-trained concert pianist. Her “very strict, indebted to. It’s like a thank you note to him classical improvisations”, based on the Bach, for everything I’ve learned by watching his became the score for the rest of the piece, now work. And it reflects both my love and my transcribed and played live by a single pianist. doubts: on one hand, it’s reverent; on the Forsythe made the entire piece – for a company other hand it acknowledges the epoch he of more than 30 dancers – in three weeks, 4 worked in as something bygone.’ weaving a complex web of thought into the Distinguished British dance writer and arts piece. Just as the music is based on the ordered editor Sarah Compton spoke to William world of Bach, so the choreography is based on Forsythe and to his long-term ballet mistress the basic elements of ballet technique, with the at Ballet Frankfurt, Kathryn Bennetts, ahead dancers following the instructions of a ghostly of a revival of Artifact at London’s Sadler’s woman in grey: “It is about the process of Wells by the Royal Ballet of Flanders in 2012: people imitating one another,” Forsythe

4 William Forsythe, interview with Gabrielle de Ferrari, 2006, quoted in The Ballet Lover’s Companion by Zoe Anderson, Yale University Press, 2015.

‘ It’s easy to see this strategy as pure provocation – when you first see the work, it is nerve-wracking. (Has something gone wrong? Is someone hurt? What is the audience supposed to do?).’

explains. “Of replication. That is what one does. One starts by standing behind someone else and imitating what they do.” In dance or in life? He laughs. “Well, maybe both. I think it is not a bad metaphor.” 5 In [Artifact II] the pure-dance, second part of the work, to Bach’s Chaconne from Partita No. 2 in D minor for solo violin, two couples surge unexpectedly from the lines of dancers at the sides and back of the stage, performing simultaneous pas de deux of breathtaking beauty which are brutally interrupted several times by the curtain crashing down (and, lined with wooden battens, it really does crash). It’s easy to see this strategy as pure provocation much of his work: the desire for and capacity – when you first see the work, it is nerve- to attain beauty, and the resistance to wracking. (Has something gone wrong? Is settling for beauty. 6 someone hurt? What is the audience supposed Artifact II was first performed in New Zealand to do?). But the uninterrupted flow of the in March 1994, when it was brought to the gorgeous, melancholy violin, and the renewed New Zealand International Festival of the Arts vision, flooded with golden light, that the ballet by Ballet Frankfurt, alongside Forsythe’s offers each time the curtain goes back up to Artifact III, In the Middle, Somewhat Elevated reveal the dancers, still moving through another and The Vile Parody of Address. exquisite formation, takes Forsythe’s device 5 William Forsythe interview: Artifact is an ode to ballet, Daily Telegraph, well beyond the realm of the sensational. And 18 April 2012. 6 Roslyn Sulcas, ‘Watching the Ballett Frankfurt, 1988 – 2009’, William although Artifact makes central the way dance Forsythe and the Practice of Choreography: It Starts From Any Point, works on stage in relation to the other edited by Steven Spier, Routledge, Taylor & Francis Group, 2011. components of theatrical experience and illusion (lighting, framing the handling of THE RECORDING USED FOR ALL PERFORMANCES IS expectations), it has never seemed to me that Partita No. 2 in D Minor BWV 1004 – Ciaccona the ballet is about this in a purely intellectual Performed by Nathan Milstein way. What [Artifact II] does do, however, is to Composer J S Bach From the Album Sonatas and Partitas for Solo Violin provide an early and perfect illustration of a Label Deutsche Grammophon duality that Forsythe juggles with through Courtesy of Universal Music WILLIAM FORSYTHE developed and performed exclusively by The CHOREOGRAPHY, STAGE, Forsythe Company, while his earlier pieces are LIGHT, COSTUME DESIGN prominently featured in the repertoire of virtually William Forsythe has been active in the field of every major ballet company in the world. choreography for over 45 years. His work is Forsythe has been commissioned to produce acknowledged for reorienting the practice of ballet architectural and performance installations. These from its identification with classical repertoire to a Choreographic Objects, as he likes to call these dynamic 21st century art form. Forsythe’s deep works, have been presented in numerous museums interest in the fundamental principles of and exhibitions, including the Whitney Biennial (New organization has led him to produce a wide range York, 1997), the Louvre Museum (2006), the Wexner of projects including Installations, Films, and Web Center for the Arts (Columbus, 2009), Tate Modern based knowledge creation. (London, 2009), MoMA (New York 2010) and the Raised in New York and initially trained in Florida Venice Biennale (2005, 2009, 2012, 2014), the with Nolan Dingman and Christa Long, Forsythe Biennale of Sydney (2016) and ICA Boston (2018). danced with the Joffrey Ballet and later the In collaboration with media specialists and educators, Stuttgart Ballet, where he was appointed Resident Forsythe has developed new approaches to dance Choreographer in 1976. Over the next seven years, documentation, research, and education. His 1994 he created new works for the Stuttgart ensemble computer application Improvisation Technologies: A and other ballet companies worldwide. In 1984, he Tool for the Analytical Dance Eye, developed with the began a 20-year tenure as director of the Ballet ZKM / Zentrum für Kunst und Medientechnologie Frankfurt, where he created works such as Artifact Karlsruhe, is used as a teaching tool by professional (1984), Impressing the Czar (1988), Limb’s companies, dance conservatories, universities, Theorem (1990), The Loss of Small Detail (1991), postgraduate architecture programs, and secondary Eidos:Telos (1995), Kammer/Kammer (2000) and schools worldwide. Decreation (2003). In 2002, Forsythe was chosen as one the founding After the closure of the Ballet Frankfurt in 2004, Dance Mentor for The Rolex Mentor and Protégé Forsythe established a new, more independent Arts Initiative. Forsythe is an Honorary Fellow at the ensemble, The Forsythe Company, which he Laban Centre for Movement and Dance in London directed from 2005 to 2015. Works produced by and holds an Honorary Doctorate from The Juilliard this ensemble include Three Atmospheric Studies School in New York. Forsythe is a current Professor (2005), Human Writes (2005), Heterotopia (2006), of Dance and Artistic Advisor for the Choreographic I don’t believe in outer space (2008) and Sider Institute at the University of Southern California (2011). Forsythe’s most recent works were Glorya Kaufman School of Dance.

Previous page from top left / Laurynas Vėjalis and Simone Messmer; Loughlan Prior and Katharine Precourt; Joseph Skelton, Mayu Tanigaito, Thierry Guiderdoni and Massimo Margaria in rehearsal for Artifact II. Left / Principal Paul Mathews and Soloists Joseph Skelton and Sara Garbowski in rehearsal for Artifact II. THIERRY GUIDERDONI | STAGER PATRICK LAUCKNER Thierry Guiderdoni was born in Nice, France. He TECHNICAL SUPERVISOR undertook his dance education at the Académie de Patrick was born in Germany in the early 1980s. He Danse Princesse Grace in Monte Carlo under the finished his theatrical engineering education at direction of Marika Besobrasova. In 1982 he was HELLERAU – European Centre for the Arts awarded the Professional Prize at the Prix de Dresden in 2010. Since 2016 he has held a Lausanne; he joined The Stuttgart Ballet the same Bachelor’s degree in theatrical engineering year. From 1991 to 2004 he was a member of majoring in stage and studio and one in lighting. Frankfurt Ballet. In 2005 he was appointed Ballet In 2011 he joined the Forsythe Company under the Master and Artistic Assistant to William Forsythe, and artistic direction of William Forsythe, as the also his Agenda Manager at The Forsythe Company. company’s stage supervisor. The same year he Thierry Guiderdoni is currently freelance stager and became a member of the technical team of rehearsal director for Forsythe Productions. Forsythe’s choreographic objects. Since 2015 Patrick has been a freelance technical ‘ ...the uninterrupted flow of the production manager and technical director. In 2017 gorgeous, melancholy violin, he joined the Berlin based DANCE ON Ensemble as a technical production manager. and the renewed vision, flooded He was the technical director of the German dance with golden light, that the ballet congress 2019 in Dresden under the artistic offers each time the curtain goes directorship of Meg Stuart. back up to reveal the dancers, He has been involved in productions at the Sydney still moving through another Biennale, Brooklyn Academy of Music, NYC, Théâtre National de Challiot and Opera Garnier, exquisite formation, takes Paris, ICA, Boston, and Seongnam Arts Center, Forsythe’s device well beyond Korea, among others. the realm of the sensational.’ TANJA RÜHL NIGEL PERCY TECHNICAL PREPARATION LIGHTING REALISATION FOR ALL FOUR BOLD MOVES BALLETS Tanja is a freelance lighting designer and lighting supervisor. She was born and resides in Germany. Nigel has enjoyed a long association with the Royal In 1999 she began her theatrical engineering New Zealand Ballet. He first worked with the RNZB as apprenticeship at Frankfurt Opera House. After Head of Lighting from 1995 to 1996 and then again completion of the apprenticeship with distinction, from 1998 to 1999. He then went on to do a significant Tanja joined Ballet Frankfurt under the artistic amount of work within lighting departments in the film direction of William Forsythe in 2002 as Assistant industry; working on films including the Lord of the to the Lighting Supervisor.She was then appointed Rings trilogy, King Kong, The Water Horse, Avatar, Lighting Supervisor with the newly founded Forsythe The Lovely Bones and The Hobbit. Company in 2005. In 2006 she completed her As a freelance lighting designer, he has lit many masters of theatrical engineering majoring in lighting. theatrical productions and corporate events Since 2007 Tanja has acted as the company’s including The Spinning Mountain for Capital E and lighting designer,mostly in cooperation with her The Enchanted Forest exhibition at The New Dowse mentor Forsythe as well as with her colleagues in Gallery. Nigel lit Capital E’s Hear to See which won the company’s lighting department. Being a the Chapman Tripp Theatre Award for Most Original member of Forsythe Productions, Tanja acts as Production and Outstanding Music Composer. Nigel technical and design consultant, collaborating with also lit Little Dog Barking Theatre’s Duck, Death and ballet and dance companies in matters regarding the Tulip (2013), for which the Lighting Design was Forsythe‘s licensed works.Since 2014 she has nominated for a Chapman Tripp Theatre Award, and worked full time as a freelance lighting designer, its production of Guji Guji (2015). collaborating with choreographers, companies and Over the past ten years, Nigel has created lighting artists throughout the world. As a designer she is designs for numerous RNZB productions including still working with William Forsythe on his new Tutus on Tour (2009, 2011 and 2013), Stravinsky works and on recreations of his existing repertoire. Selection (2011), NYC (2012) and Allegro (2014). He Productions she has created the original design received particular praise for his lighting of Cameron for have been performed at the Opéra Garnier, McMillan’s new work Satisfied With Great Success Paris; Brooklyn Academy of Music, New York; Tate which was part of the Stravinsky Selection programme. Modern, London; Kawasaki Arts Center, Japan; Nigel also worked with Multi-Media Systems for five Ruhrtriennale Jahrunderthalle, Bochum and years as a Production Manager. Since leaving that Taichung National Theater, Taiwan. role in 2018, he continues to do freelance work as a lighting designer; most recently in the area of exhibition lighting. PATRICIA BARKER ARTISTIC DIRECTOR

Patricia Barker was born in Richland, Washington, dynamic repertoire ranging from full length USA, where she received her early ballet training. classical ballets such as Petipa’s Swan Lake and She later studied on scholarship at Boston Ballet Sleeping Beauty, to neo-classical masterworks School and Pacific Northwest Ballet School. At age including Balanchine’s Serenade and Four 17, she joined Pacific Northwest Ballet, under the Temperaments, Tharp’s Nine Sinatra Songs and directorship of Kent Stowell and Francia Russell, Taylor’s Company B. and quickly rose to the rank of Principal Dancer. Barker also commissioned several full-length During her 27 year career, she performed classical world premieres including Bruce Wells’ extensively throughout Europe, Asia, Australia and Cinderella and Val Canaparoli’s The Nutcracker with North America in many of the great full-length sets and design by award-winning children’s book classical ballets and contemporary works by author Chris Van Allsburg and Emmy award renowned choreographers. She appeared as a winning set designer Eugene Lee. guest artist with national and international ballet Contemporary full-length commissions include companies and performed in many galas throughout A Midsummer Night’s Dream by Olivier Wevers, the world. Barker danced the lead role of Clara in Dangerous Liaisons by Annabelle Lopez Ochoa, Nutcracker the Motion Picture, and starred as Alice in Wonderland by Brian Enos and Luis Grane, Titania in the BBC’s film, A Midsummer Night’s and Black & White, Beethoven and Romeo and Dream in a celebratory re-opening of the Sadler’s Juliet by Mário Radačovský. Wells Theatre in London. She graced the covers of In 2011, Barker conceived the contemporary dance Dance Magazine, Danser, Pointe Magazine, Dance series MOVEMEDIA for which over 30 works have Australia, Dance Teacher, Dance Pages, Ballet since been commissioned from some of the leading Review and Dance International. contemporary chorographers. Notable choreographers Barker, along with Jiří Kylián, was co-artistic advisor include Brian Enos, Olivier Wevers, Robert Dekkers, to the Slovak National Ballet from 2006 to 2010. She Sagi Gross and Mário Radačovský. MOVEMEDIA’s has staged works for the Balanchine Trust for dual purpose was also to prominently feature works companies including Pacific Northwest Ballet, Slovak by female choreographers such as Annabelle Lopez National Ballet and Hungarian National Ballet. Ochoa, Andrea Schermoly, Susan Jaffe, Gina Barker became Artistic Director of Grand Rapids Patterson, and Princess Grace Award winners Robyn Ballet and Director of the Grand Rapids Ballet Mineko Williams and Penny Saunders, Grand Rapids School in 2010. She curated a compelling and Ballet’s resident choreographer since 2014. LESTER MCGRATH EXECUTIVE DIRECTOR

Under Barker’s direction, Grand Rapids Ballet Lester is one of New Zealand’s most experienced renewed its commitment to touring nationally by performing arts managers, having worked in performing in Detroit, Saint Louis and Seattle. In New Zealand, Australia and the UK in a career that addition, Barker led the Grand Rapids Ballet School spans over thirty years. From 2007 – 18 he was General with an enrolment of nearly 400 students; an Manager and then Chief Executive of Auckland Theatre expansion of two additional campuses, planned for Company. During this time the company grew to the 2017-18 season, will double the student body. become a flagship cultural organisation for Auckland. She also oversaw the Outreach Programme serving He also spearheaded the campaign to build the over 600 public school students annually, the 675-seat ASB Waterfront Theatre, which now Dancing with Parkinson’s Disease programme, the welcomes over 120,000 patrons annually. Explorer Dance for children with Down Syndrome While most of his career has been in theatre, he has classes, and the Open Division Adult Ballet classes. also presented and toured dance, concerts and Barker staged several works for the Balanchine commercial entertainment in venues across Trust and is an active educator. She has adjudicated Australasia, and into the United Kingdom and United faculty, is a frequent guest teacher and lecturer, States. He was Theatre Development Manager at and judges at competitions, most notably at Youth The Edge (now Auckland Live) from 1996 to 2001, America Grand Prix over the last ten years. She is a and worked on the re-opening programmes for the member of numerous boards including Pointe Auckland Town Hall and The Civic after they were Magazine and the Tateuchi Center, a performing refurbished. He also worked with the major arts centre in Bellevue, Washington State. performing arts hirers of these facilities including Barker was appointed as the Royal New Zealand the New Zealand Symphony Orchestra, Auckland Ballet’s Artistic Director in June 2017, taking on the Philharmonia Orchestra, the Royal New Zealand role from Francesco Ventriglia. She is the RNZB’s Ballet and New Zealand Opera. While at The Edge he 12th Artistic Director and the second woman to also managed and promoted performances by a range hold this position in the RNZB’s 65 year history, of international artists including: Wynton Marsalis and after Una Kai first held the position from 1973 - 75. the Lincoln Center Jazz Orchestra, soprano Kathleen Battle, The Australian Ballet’s production of Manon, and the London Symphony Orchestra. Between 2001 and 2006 he was Senior Producer at International Concert Attractions Pty Ltd (Melbourne) and managed tours for Soweto Gospel Choir, the Treorchy Male Welsh Choir, Les Ballets Trockadero de Monte Carlo, Pete Postlethwaite in Scaramouche Jones and Amanda Muggleton in Masterclass. CLYTIE CAMPBELL BALLET MASTER

Clytie Campbell joined the RNZB in 2005, returning perform as the Queen of the Dryads and Mercedes in from eight years dancing in Europe. Starting at the Don Quixote, roles in Dear Horizon and age of five, her entire ballet training was at her Passchendaele, and Hermia in A Midsummer Night’s mother’s school, the Philippa Campbell School of Dream. In 2016, her last year as a performing member Ballet in Auckland. At 17, Clytie joined the Deutsche of the company, she performed with distinction in Oper Ballet in Berlin, where she danced for more than William Forsythe’s In the Middle, Somewhat Elevated, six years, before moving to Vienna’s Staatsoper Ballet. took on solo roles in Francesco Ventriglia’s The Clytie danced many lead roles with the RNZB Wizard of Oz, including Glinda, Good Witch of the including Kitri in Don Quixote, the Sylph in La North and appeared as both Myrtha and Bathilde in Sylphide, Myrtha, Queen of the Wilis in Giselle, the Giselle. Her last appearances onstage were as Hermia grand pas de deux in The Nutcracker, and Carabosse in A Midsummer Night’s Dream, in Hong Kong and and the Lilac Fairy in The Sleeping Beauty, as well Wellington. as solos in many contemporary works. Clytie joined the Royal New Zealand Ballet’s artistic Clytie received critical acclaim for her lead roles in staff in January 2017. In addition to her role at the 2011’s European tour of From Here to There. RNZB she has recently undertaken a secondment to Highlights include the Fairy Godmother and the Tall Queensland Ballet, working alongside former RNZB Step Sister in Christopher Hampson’s Cinderella Ballet Master Greg Horsman to stage a new (2012), and the Ghost of Christmas Past and the production of La bayadère. Nephew’s Wife in A Christmas Carol (2014). On the RNZB’s 2014 US tour, critics praised her ‘technically and expressively strong and appealing’ performance CLYTIE IS SUPPORTED BY in Javier De Frutos’ Banderillero. 2015 saw Clytie LAURA MCQUEEN SCHULTZ BALLET MASTER

Laura McQueen Schultz was born in Grand Rapids, many other iconic classic works. Laura has also Michigan, where she started her ballet training at worked with contemporary choreographers such as age seven at the Grand Rapids Ballet School. She Robyn Mineko Williams, Penny Saunders, Mário was a member of both the Junior and Senior Radačovský and Annabelle Lopez Ochoa. Professional Trainee programmes at Grand Rapids Laura has often appeared as a guest artist in the Ballet in which she performed alongside the USA, Canada, Europe and Asia for companies professional company. She also studied on including Ballet Bratislava, Long Beach Ballet, scholarship with the Houston Ballet Academy, San Farrell Ballet Theatre, Whim W’Him, and Olympic Francisco Ballet School, and the National Ballet Ballet Theater. Laura has also staged works for School of Canada. She joined the Grand Rapids Grand Rapids Ballet as well as with the National Ballet as an apprentice for the 1999-2000 season Ballet of Brno. Laura was the Associate Artistic and spent the following year dancing under Lindsay Director of Young People’s Ballet Theatre in Flint, Fischer at the National Ballet of Canada in the Michigan from 2012 until 2016. From 2012 until postgraduate training programme. 2017, Laura and her husband Nick were the In 2001, Laura was invited to join the St. Louis Choreographers and Stage directors for Children’s Ballet under Gen Horiuchi. She returned to Grand Opera Workshop, during which they taught and Rapids Ballet in 2003 where she danced numerous created all the stage direction and choreography leading and principal roles in such ballets as Four for each opera. Laura joined the Royal New Zealand Temperaments, Who Cares?, Alice in Wonderland, Ballet as Ballet Master in January 2018. Together Black and White, Romeo and Juliet, Raymonda Pas with Nick she staged the RNZB’s recent production de Dix, Giselle, Swan Lake, The Nutcracker, and of Black Swan, White Swan. NICHOLAS SCHULTZ BALLET MASTER

Nicholas Schultz grew up in Grand Rapids, Michigan. contemporary choreographers such as Olivier He began his dance studies at Grand Rapids Ballet Wevers, Annabelle Lopez Ochoa, Mário School, under the direction of Charthel Arthur and Radačovský, Penny Saunders, Robyn Mineko Robert Estner, when he was seven. He was a Williams, and Sagi Gross to name a few. member of both the Junior and Senior Trainee From 2012-2016 Nick was also the Artistic Director divisions, performing numerous productions for Young People’s Ballet Theatre in Flint, Michigan, alongside Grand Rapids Ballet. Nicholas also studied where he staged and choreographed many works for with the Joffrey Ballet for three summers, as well as the company. Nick was also responsible for teaching under the direction of Sergio Stefanski at the and cultivating many young dancers, of which some National Ballet of Canada for a summer. have continued on to professional careers. In 2002, Nick joined Grand Rapids Ballet an as Nick has taught for numerous schools, including the apprentice and was promoted to full company Grand Rapids Ballet School. He, alongside his wife member in 2003. During his tenure with the Laura, have served as the choreographer and stage company, he danced numerous leading and director for Children’s Opera Workshop from principal roles in ballets such as Giselle, Romeo and 2012-2017. Nick joined the Royal New Zealand Juliet, The Sleeping Beauty, A Midsummer Night’s Ballet as Ballet Master in January 2018. He Dream, Cinderella, and many more. Nick has danced performed onstage with the RNZB as Herr many works by iconic choreographers such as Drosselmeier in Val Caniparoli’s The Nutcracker and George Balanchine, Jose Limon, Paul Taylor, Val together with Laura, staged the RNZB’s recent Caniparoli, and Davis Parsons. During his time at production of Black Swan, White Swan. Grand Rapids Ballet, he also worked with MICHAEL AUER BALLET MASTER

Michael Auer, born in Vienna, Austria, studied ballet Mineko Williams and Olivier Wevers. He created at the Vienna State Opera Ballet and on scholarship projection designs for full-length productions of at the School of American Ballet. During his dance Dracula, Black Swan, White Swan, Romeo and career, he performed with the North Carolina Juliet and The Happy Prince as well as stage Dance Theater, Eliot Feld Ballet, Frankfurt Ballet production designs for Cinderella, The Sleeping and Pacific Northwest Ballet. In 1984, he created Beauty and Swan Lake. In 2014, he was the role of the Nutcracker Prince in Pacific instrumental in GRB’s production of The Northwest Ballet’s production of The Nutcracker by Nutcracker with choreography by Val Caniparoli Kent Stowell and Maurice Sendak (Where The Wild (Lambarena, Lady of the Camellias) with design by Things Are). Retiring from the stage, he pursued a Chris Van Allsburg (Polar Express, Jumanji) and career in technology as a software developer and Eugen Lee (Wicked, Candide, Saturday Night Live). entrepreneur working with Fortune 500 companies In 2016, he collaborated with choreographer Brian such as Microsoft, Boeing and McCaw Cellular, later Enos and designer Luis Grane (Ratatouille, Hotel to be known as AT&T Wireless. Transylvania) on Alice in Wonderland. In 2010 he joined Grand Rapids Ballet as Creative Director overseeing all creative production elements. In 2011 he became the creative force behind MOVEMEDIA working closely with choreographers such as Mário Radačovský, Annabelle Lopez Ochoa, Penny Saunders, Robyn DANCERS OF THE ROYAL NEW ZEALAND BALLET

The Royal New Zealand Ballet gratefully acknowledges the generosity of those individuals, companies and trusts who support the company through our Partner a Dancer programme. If you would like to join them, please contact Susannah Lees-Jeffries, Director of Marketing and Development, +64 4 381 9019 / [email protected] , 2018. Reason to in Stand Selchow Kirby Principals

ALLISTER MADIN | Supported by Ann-Louise and Campbell Gower Born in the Basque country of France and of French and Spanish ancestry, Allister Madin has joined the Royal New Zealand Ballet as a Principal dancer for 2019. For the past 14 years Allister has enjoyed an extensive performing career with the Paris Opera Ballet, first studying at their prestigious School, and joining the company when he was 19. Allister was promoted to Soloist with the Paris Opéra Ballet in 2011. He has danced a wealth of classical and contemporary roles, including working with noted living choreographers such as Wayne McGregor, Crystal Pite, Alexander Ekman and Benjamin Millepied. His classical repertoire includes Nureyev’s Romeo and Juliet, Don Quixote, Swan Lake and La Bayadère, as well as works by Maurice Béjart, Roland Petit, Jiří Kylián, Kenneth MacMillan and Pierre Lacotte. With the Paris Opéra Ballet, Allister has performed in leading venues worldwide, including the Bolshoi Theatre in Moscow, and in Novosibirsk, Beijing, Singapore and Tokyo. As a guest artist he has performed leading roles with Saitama Dance Arts Theatre (Japan), the Estonian National Opera, 3me étage / 3rd Floor (Canada and Argentina), at Jacob’s Pillow in the USA and with Incidence Chorégraphique in Greece and Russia. Allister has created works for young choreographers’ evenings at the Opéra Bastille and the Opéra Garnier, and for the International Dance Festival at Andros in Greece. He has also appeared in several short films. In 2016 he completed his degree in ballet teaching, and has subsequently taught in many intensive ballet programmes.

PAUL MATHEWS | Supported by the Dress Circle and is an Ambassador for Vodafone In his 13 years with the RNZB, Paul Mathews has excelled in contemporary and classical works, as well as creating some memorable characters onstage. Paul’s performances in 2018 highlighted his versatility as an artist, beginning with the tormented Alastair Stewart in The Piano: the ballet and continuing with striking performances in Corey Baker’s The Last Dance and Kylián’s Petite Mort. Paul appeared as one of the ‘sons’ in Danielle Rowe’s Remember, Mama, and ended the year performing the roles of Drosselmeier, the Mouse King, the Sugar Plum Fairy’s Cavalier and Herr Stahlbaum in Val Caniparoli’s The Nutcracker. In 2017, Paul received critical acclaim from reviewers around New Zealand for his portrayal of Tybalt in Romeo and Juliet. He also performed in Alexander Ekman’s Episode 31 as part of the Three by Ekman triple bill, and appeared as the Toreador in Roland Petit’s Carmen. Since joining the RNZB from the New Zealand School of Dance in 2006, as the Todd Scholar, Paul has performed a wide variety of leading roles, including Scrooge and Young Scrooge in A Christmas Carol, Hilarion in Giselle, Von Rothbart in Swan Lake, the Leading Man in Who Cares?, Tybalt in Christopher Hampson’s Romeo and Juliet, the Blackamoor in Petrouchka, and Hook in Peter Pan. Paul has also performed many works by international and New Zealand choreographers including Christopher Hampson, Javier De Frutos, Andrew Simmons, Jorma Elo, Benjamin Millepied, George Balanchine, Larry Keigwin, Ethan Stiefel, David Dawson, and Liam Scarlett. In 2014, Paul travelled to Tokyo to guest with Ballet Chambre Ouest for the creation and world premiere of Jo Funaki’s Counter-Heartbeats. 2015 roles included Gamache and the Don in Don Quixote, appearing in the original casts of both Dear Horizon and Passchendaele, and Demetrius and Bottom in A Midsummer Night’s Dream. In 2016, Paul performed in Andonis Foniadakis’s Selon désir, as part of the RNZB’s acclaimed Speed of Light programme, and as both the Lion and the Scarecrow in The Wizard of Oz. He ended the year reprising both Hilarion in Giselle and Demetrius and Bottom in A Midsummer Night’s Dream, in both Hong Kong and Wellington. Paul is also active as a teacher, teaching masterclasses in his home town of Auckland alongside his wife Mayu Tanigaito. KATHARINE PRECOURT Katharine Precourt joined the RNZB in September 2018 and made her New Zealand debut in Val Caniparoli’s The Nutcracker, performing the roles of the Sugar Plum Fairy and Arabian Coffee. Prior to moving to New Zealand, Katharine achieved the rank of First Soloist with the Houston Ballet and performed the lead roles in many classical full length ballets: Sleeping Beauty, Swan Lake, La Bayadère, Giselle, Manon, The Nutcracker and Paquita. Her dance repertoire also includes lead and featured roles in Ashton’s Les Patineurs, Balanchine’s Apollo, Theme and Variations, Ballet Imperial, Serenade, Symphony in C, The Four Temperaments, Jewels, Bruce’s Ghost Dances, Rooster, Forsythe’s Artifact Suite, In the Middle, Somewhat Elevated, Kylián’s Falling Angels, Petite Mort, Svadebka, Wings of Wax, Lander’s Etudes, Liang’s Murmuration, MacMillan’s Song of the Earth, van Manen’s Grosse Fugue, Morris’ Drink to Me Only With Thine Eyes, Pacific, Sandpaper Ballet Robbins’ Afternoon of a Faun, In the Night, The Concert, Tharp’s In the Upper Room, The Brahms-Haydn Variations, and Tudor’s The Leaves are Fading. Katharine was born in Southern California and started her dance training at the San Diego School of Ballet. She was accepted on a full merit scholarship to intensive programmes at School of American Ballet and San Francisco School of Ballet and continued her training as a scholarship student at the Ben Stevenson Academy associated with the Houston Ballet, joining the company on graduation. Katharine is a YOUNGARTS winner in ballet awarded by the National Foundation for Advancement in the Arts. She was presented in the Dance Magazine feature On The Rise.

MAYU TANIGAITO | Supported by the Pye Foundation Mayu Tanigaito joined the RNZB in 2012, making an immediate impression on New Zealand audiences in Larry Keigwin’s Final Dress. 2018 was a busy year for Mayu, who appeared as Nessie in Jiří and Otto Bubeníček’s The Piano: the ballet, and in solo roles in all four works in the Dancing with Mozart mixed bill, including an extended pas de deux in Corey Baker’s The Last Dance. She ended the year as both the Sugar Plum Fairy and Dewdrop in Val Caniparoli’s The Nutcracker. She has performed principal roles in the classical repertoire including Carmen by Roland Petit (2017), Juliet in Romeo and Juliet (2017) Kitri in Don Quixote, Giselle and Myrtha in Giselle (2015, 2016), and In the Middle Somewhat Elevated, all of which garnered critical acclaim. Other leading roles have included Swanhilda in Coppélia, Pas de Trois and cygnets in Swan Lake, Flower Festival of Genzano pas de deux, Carnival of Venice pas de deux, and in Balanchine’s Who Cares? and Allegro Brillante and the Wicked Witch of the West in The Wizard of Oz. She has performed works by New Zealand and international choreographers including Benjamin Millepied, Ethan Stiefel, William Forsythe, Francesco Ventriglia, Andrew Simmons and Neil Ieremia. Liam Scarlett created the role of Moth on her for his A Midsummer Night’s Dream, a role she has performed in New Zealand, and Hong Kong. At the end of 2016 Mayu was a guest artist with the Greek National Opera Ballet, performing the role of Giselle in Athens. Mayu started dance training in Japan. In 2002, she was awarded second place in the Junior Division of the Youth America Grand Prix in Japan and then third place in the Senior Division in 2004. She was also a finalist in New York in both years. She studied full time at the Royal Ballet School in Antwerp, and at Rock School for Dance Education in the USA. Prior to join the RNZB, Mayu danced with North Carolina Dance Theater. Outside her performing career, Mayu is active as a dance teacher, regularly presenting masterclasses alongside her husband, fellow RNZB Principal Paul Mathews. NADIA YANOWSKY Nadia Yanowsky took leave from Dutch National Ballet, where she had been a soloist since 2010, to perform as guest soloist for the RNZB’s 2017 revival of In the Middle, Somewhat Elevated by William Forsythe. She returned as a guest with the company for the 2018 productions of The Piano: the ballet, in which she performed the role of Ada, Balanchine’s Divertimento No. 15 and Kylián’s Petite Mort in Dancing with Mozart and Strength & Grace in which she created the central role of Mother in Danielle Rowe’s Remember, Mama. Nadia joined the Royal New Zealand Ballet as an artist in late 2018 and appeared as the Sugar Plum Fairy in Val Caniparoli’s The Nutcracker. Nadia has performed a vast number of lead roles throughout her career. She is highly experienced in the core classical repertoire, dancing works including Romeo and Juliet, Giselle, Carmen, Swan Lake, Paquita, La Bayadère, Les Sylphides, Cinderella, The Sleeping Beauty, The Nutcracker, Coppélia, The Rite of Spring, and Le Corsaire to name but a few. She has performed lead roles in many Balanchine works including Serenade, Agon, Symphony in C, Concerto Barocco, Symphony in 3 movements, and Violin Concerto, as well as works by William Forsythe, Hans Van Manen, Wayne McGregor, Christopher Wheeldon, John Neumeier, Maurice Béjart, Ure Scholz, Angelin Preljocaj, Rudi Van Danzig and David Dawson. Many leading choreographers have created roles on Nadia and she has premiered works including Don Quixote by Alexei Ratmansky, Cinderella and Concerto Concordia by Christopher Wheeldon, Labyrinth by Sidi Larbi Cherkaoui, Roulette and Consequence by Juanjo Arqués, Woolf by Dominique Dumais, Magdalene and The Eleventh Hour by Remi Wortmeyer, and Wish by Juan Eymar. Nadia was born in Madrid and raised in Las Palmas de Gran Canaria. She was trained from a young age by her parents, Carmen Robles and Anatoli Yanowsky who were both members of Lyon Opera Ballet. She won the silver medal and audience prize at the Luxemburg International Ballet Competition and began her professional career with the English National Ballet in 2002 under former RNZB Artistic Director Matz Skoog. Nadia joined the Staatsballett Berlin under the direction of Vladimir Malakhov in 2003, where she was quickly promoted to demi-soloist, then moved to Amsterdam as grand sujet at Dutch National Ballet in 2008, becoming a soloist two years later.

SIMONE MESSMER | Guest Principal Raised in Minneapolis Minnesota, Simone began her training under the directorship of Bonnie Mathis at Ballet Arts Minnesota. At 14, Simone was accepted into the HARID Conservatory in Boca Raton, Florida. After participating in the inaugural year of the Youth America Grand Prix (YAGP) competition, American Ballet Theatre (ABT) Studio Company Director John Meehan expressed the company’s interest. Simone joined ABT Studio Company during the fall of 2001 and joined ABT as an apprentice in the spring of 2002; in 2003 she became a corps member and was promoted to Soloist in January of 2010. During her tenure at ABT her repertoire was vast. She created multiple principal roles for Alexei Ratmansky, Twyla Tharp, Christopher Wheeldon and Demis Volpi to name a few. Her classical repertoire included Gamzatti in Makarova’s La Bayadère, Myrtha in Giselle, the Lilac Fairy in The Sleeping Beauty, as well as leading roles in Onegin, La Dame aux Camellias, Ashton’s Birthday Offering and The Dream and Kylián’s Petite mort, Overgrown Path and Sinfonetta. Her Balanchine roles include the soloists in Theme and Variations and principal roles in Symphony in C, Ballo della Regina and Apollo. Simone left ABT to become a soloist at San Francisco Ballet; while there she performed Myrtha in Giselle, Clara and Sugarplum Fairy in The Nutcracker and the title role in The Firebird as well as principal roles in Agon and Symphony in C. Simone was then offered a principal contract with Miami City Ballet. Whilst in Miami some of Simone’s highlights included Odette in Balanchine’s Swan Lake, Titania in A Midsummers Night Dream, Sugarplum Fairy in Balanchine’s The Nutcracker, and the principal roles in Diamonds and Emeralds. She created the title role in Ratmansky’s The Fairy’s Kiss and performed his DSCH. She had the opportunity to perform Jerome Robbins’ Other Dances during the Êté de la Danse festival in Paris; she was also invited to perform in Robbins’ In the Night and the Waltz Girl in Serenade during the Balanchine celebration at New York’s iconic City Center. In 2010 Simone was awarded the Leonore Annenberg Arts Fellowship. Soloists

SARA GARBOWSKI | Supported by PW Dance & Sportswear In 2017, her first year with the Royal New Zealand Ballet, Sara Garbowski performed in Roland Petit’s Carmen and L’Arlésienne, Three by Ekman and Romeo and Juliet. In March 2018 she made her debut as Ada in The Piano: the ballet. She performed in three out of four works in Dancing with Mozart and also in Strength & Grace and performed the iconic role of the Sugar Plum Fairy and Dewdrop in Val Caniparoli’s The Nutcracker. Originally from Canada, Sara is a graduate of Canada’s National Ballet School in Toronto where she won the Peter Dwyer Award before joining the National Ballet of Canada. In 2010 Sara joined the Royal Ballet of Flanders and was promoted to Demi Soloist in 2013. Her repertoire includes My One and Only in Balanchine’s Who Cares?, Solo Shade in Cynthia Harvey’s La Bayadère, The Kingdom of the Shades; Red Fairy and Lead Jewel in Marcia Haydée’s The Sleeping Beauty; White Couple in Jiří Kylián’s Forgotten Land; and First Pas de Deux in Wayne McGregor’s Infra, as well as notable roles in Forsythe’s In the Middle Somewhat Elevated and Approximate Sonata. In December 2016, Sara performed the pas de deux I Fall for You by Sidi Larbi Cherkaoui at the Harvard Club of Belgium’s award ceremony.

KATE KADOW | Supported by Isaac Hikaka and Jessica Miles Kate Kadow joined the RNZB in January 2018 and made her New Zealand debut in The Piano: the ballet, followed by solo roles in Balanchine’s Divertimento No. 15 and Kylián’s Sechs Tänze. Most recently, Kate performed the role of the Sugar Plum Fairy in Val Caniparoli’s production of The Nutcracker. Prior to coming to New Zealand, Kate was a principal dancer at State Street Ballet of Santa Barbara, California (2012 – 16), with highlights including Kitri in Don Quixote, the title role in William Soleau’s Firebird, The Shrew in Robert Sund’s Taming of the Shrew, The Sugar Plum Fairy in The Nutcracker, Tiger Lily in Alice in Wonderland and new works by Rodney Gustafson, Edgar Zendejas, Autumn Eckmann, Cassandra Newberry, and Peter Pucci. Kate joined Barak Ballet in Los Angeles in 2016, performing world premiere works by company director Melissa Barak, including Dimitierre and Eos Chasma, and being featured on television and in music videos. In 2017 she was featured in new works by choreographers Andrea Shermoly, Nicolas Blanc and Robert Dekkers. Kate has performed as a guest artist throughout the United States and internationally, highlights include the Alina Cojocaru, Johan Kobborg and Friends gala in Florida, the International Ballet Festival of Miami, Grand Rapids Ballet, and a 36 city tour of China where she performed the role of Beauty in Robert Sund’s Beauty and the Beast. Florida-born, Kate began her training in Pennsylvania and attended the Kirov Academy in Washington DC on scholarship before finished her training with renowned Cuban coach Magaly Suarez in South Florida. At the age of 14, she performed alongside dancers from American Ballet Theatre at a Stiefel and Stars summer intensive, training under Ethan Stiefel, Gillian Murphy, Amanda McKerrow, and John Gardner. Her earliest professional engagements were with Cuban Classical Ballet of Miami, touring internationally and performing roles including Gamzatti in La Bayadère, Medora in Le Corsaire, as well as Flames of Paris by Vainonen, Satanella by Mazilier, La Spectre de La Rose by Fokine, Giselle, Swan Lake and Alberto Alonso’s Carmen and with the New York-based Morphoses: The Wheeldon Company, working with choreographers Christopher Wheeldon, Alexei Ratmansky, and Tim Harbour. SHAUN JAMES KELLY | Supported by Mark and Louise Binns Shaun James Kelly joined the RNZB in 2014. In 2018, New Zealand audiences were privileged to see him as the Reverend Campbell in The Piano: the ballet, in both works by Jiří Kylián in Dancing with Mozart and in three works in Strength & Grace, including as one of the ‘sons’ in Danielle Rowe’s Remember, Mama. He closed the year performing the roles of the Nutcracker and Chinese Tea in The Nutcracker. In 2017, Shaun made his debut as Frédéri in L’Arlesienne by Roland Petit and Mercutio in Francesco Ventriglia’s Romeo and Juliet. Other highlights to date include Balanchine’s Allegro Brillante, first male soloist in Johan Kobborg’s Les Lutins, the Fiddler in A Christmas Carol, solo in Jiří Kylián Soldier’s Mass, roles in all three works in 2016’s Speed of Light, including William Forsythe’s In the Middle, Somewhat Elevated, and Puck in Liam Scarlett’s A Midsummer Night’s Dream, a role he subsequently reprised in both Hong Kong and Wellington at the end of 2016. Other international performances include the Wedding Couple pas de deux in Johan Kobborg and Ethan Stiefel’s Giselle, works by Andrew Simmons and Neil Ieremia, and Andonis Foniadakis’s Selon désir in the UK and Italy. Born in Perth, Scotland, Shaun trained at the Dance School of Scotland before undertaking training at the English National Ballet School. While at the School he toured and performed with English National Ballet in a number of productions and also with Scottish Ballet On graduating in 2011, Shaun took up a contract with the Tivoli Ballet Theatre in Copenhagen, where he danced solo roles in Bournonville repertoire including Napoli, La Ventana, Flower Festival at Genzano and Le Conservatoire. He also took the title roles in Dinna Bjorn’s The Steadfast Tin Soldier and danced the Nutcracker Prince in Peter Bo Bendixen’s The Nutcracker. Shaun was the winner of the 2016 RNZB Harry Haythorne Choreographic Award for his work Blanc. He subsequently created Aura for Tutus on Tour 2017 and, also in 2017, choreographed a work for eight RNZB dancers that featured in New Zealand designer Andrea Moore’s catwalk show at New Zealand Fashion Week. Shaun was appointed as Choreographer in Residence with the RNZB in 2018. He created a short work, Little Red, for Te Papa’s school holiday programme in 2018, and in 2019 was commissioned to create his first work for the RNZB’s main stage as part of the Choreographic Series.

FABIO LO GIUDICE | Supported by Les Mills Fabio Lo Giudice joined the Royal New Zealand Ballet in 2014. Most recently seen onstage in the title role of The Nutcracker (2018), Fabio has also performed solo roles with distinction in Jiří Kylián’s Petite Mort (2018), Romeo and Juliet (2017), Don Quixote (2015) and Balanchine’s Allegro Brillante (2014) and Divertimento No. 15 (2018). Fabio’s expressive and dramatic qualities have also inspired choreographers to create roles especially for him, most recently Danielle Rowe in Remember, Mama (2018). Fabio was born in Catania, Sicily and started dancing at the age of ten. The same year, he joined La Scala Ballet School in Milan, moving to The Royal Ballet School in London one year later. While there, he appeared in performances by the School at the Royal Opera House and also performed on secondment with The Royal Ballet. Fabio joined the Joffrey Ballet in Chicago in 2010. His repertoire with the Joffrey Ballet included Julie Adam’s Night, The Nutcracker, The Merry Widow, Yuri Possokhov’s Don Quixote, Nijinsky’s Le Sacre du Printemps, Balanchine’s Stars and Stripes and James Kudelka’s Pretty Ballet among others. MASSIMO MARGARIA Massimo Margaria began 2018 as George Baines in The Piano: the ballet and ended the year performing the role of the Nutcracker and Drosselmeier in Val Caniparoli’s The Nutcracker. In between, he performed works by Corey Baker and Jiří Kylian in Dancing with Mozart, together with Danielle Rowe’s Remember, Mama in Strength & Grace. 2017 saw Massimo receive critical acclaim for his dynamic portrayal of Mercutio in Francesco Ventriglia’s Romeo and Juliet. He performed the central duet in Alexander Ekman’s Episode 31, featured in Tuplet and performed in Cacti as part of the Three By Ekman triple bill. Massimo danced the role of the Chief Bandit in Carmen by Roland Petit and Frédéri in Petit’s L’Arlésienne. Massimo joined the RNZB in August 2015 and his early roles with the company included the Rustics in A Midsummer Night’s Dream, and, during the RNZB tour to UK and Italy, Andonis Foniadakis’ Selon désir. In 2016 he appeared in Selon désir, William Forsythe’s In the Middle, Somewhat Elevated and Alexander Ekman’s Cacti, and as both the Tin Man and the Scarecrow in The Wizard of Oz. Born in Turin, Massimo began his ballet studies as a teenager, training at the Liceo Coreutico Nuovo and at the Balletto di Toscana graduate programme. In 2010 he took up a contract at the Teatro Massimo di Palermo in Sicily, subsequently performing with Compagnia DCE in Rome and with Maggiodanza in Florence. In 2014/15 he was a member of the Balletts Augsburg in Bavaria. His repertoire includes works by August Bournonville, William Forsythe (Step Text with Sylvie Guillem), Jiří Kylián and George Balanchine.

KATHERINE MINOR | Supported by Catherine and Steven Fyfe Katherine Minor joined the RNZB in 2014 and was most recently seen onstage as Marie in The Nutcracker (2018), rounding off an exceptional year in which she also took on solo roles in Kylián’s Petite Mort, Balanchine’s Divertimento No. 15, Andrea Schermoly’s Stand to Reason and The Piano: the ballet. Katherine created the role of Peaseblossom in Liam Scarlett’s A Midsummer Night’s Dream (2015). Other early appearances with the RNZB included Balanchine’s Allegro Brillante (2014), and solo roles in A Christmas Carol (2014), Salute (2015), In the Middle, Somewhat Elevated and Giselle (2016), and Romeo and Juliet (2017). Born in France and raised in Portland, Oregon, Katherine trained locally and at the Paris Opéra Ballet. She attended summer school at the School of American Ballet and joined Oregon Ballet Theatre as an apprentice in 2010 before moving to Chicago in 2011. Prior to joining the RNZB and following three years at Joffrey Ballet in Chicago, Katherine spent a year with the UK’s Northern Ballet. Her notable roles with Joffrey included Cupid in Don Quixote and Clara in The Nutcracker. LOUGHLAN PRIOR | Supported by the Wallace Foundation

Aussie/Kiwi performer and Choreographer in Residence, Loughlan Prior joined the RNZB in 2010 after training at the Victorian College of the Arts and the New Zealand School of Dance. His career highlights include repertoire by William Forsythe, Jiří Kylián, Liam Scarlett, Alexander Ekman, Garry Stewart, and Larry Keigwin, and he has created original roles in works by Cameron McMillan, Penny Saunders, Sarah Foster-Sproull and Javier De Frutos. He brought the role of Alistair Stewart to life in Jiří and Otto Bubeníček’s The Piano: the ballet: ‘Prior is immediately convincing as the stern repressed Alistair Stewart. He carries this role outstandingly through the work until the inevitable implosion of rage in his dramatic climax.’ (Lyne Pringle – Theatre Review) Loughlan is a prolific creator of theatre, film and multimedia projects. In 2017 he was described by Dance Aotearoa New Zealand as ‘a creative tour de force’. The New Zealand Herald described his work as using ‘extreme geometries of the limbs and innovative partnering’ and Dance Europe described his work as using ‘complex partnering, precision and confidence’. In 2014 he received the Warrandyte Youth Arts Award and in 2015 he was named the winner of the Ballet Foundation of New Zealand’s Harry Haythorne Choreographic Award. In 2016 he was the recipient of Creative New Zealand’s Tup Lang Choreographic Award. He was appointed as Choreographer in Residence at the Royal New Zealand Ballet in 2018. His work has been featured by the RNZB, New Zealand School of Dance, Grand Rapids Ballet, Palucca Hoschule für Tanz Dresden, Asian Grand Prix, Toronto’s Assemblée Internationale, Auckland’s Tempo Dance Festival, LUX Light Festival, iD Fashion Week Dunedin, Melbourne Fashion Festival, New Zealand International Film Festival, San Francisco Dance Film Festival, The Film Society of Lincoln Centre, TV3’s Dancing with the Stars and the Short Film Corner of the Cannes Film Festival. In 2019 Loughlan will premiere a new work for Queensland Ballet’s contemporary programme, Bespoke. He will then premiere a brand new full-length production of Hansel & Gretel for the RNZB, with a specially commissioned score by New Zealand composer Claire Cowan.

JOSEPH SKELTON | Supported by Gibson Sheat Joseph Skelton is noted for his technical flair, especially in full-length classical works such as The Nutcracker, in which he appeared as the Sugar Plum Cavalier, together with other solo roles, in 2018. He created the role of Romeo in Francesco Ventriglia’s Romeo and Juliet (2017) and in 2016 was warmly received as Albrecht in Ethan Stiefel and Johan Kobborg’s Giselle, a role he was also invited to perform with The Australian Ballet and the Greek National Opera Ballet, the latter opposite RNZB colleague Mayu Tanigaito. Joseph created the role of Lysander in Liam Scarlett’s A Midsummer Night’s Dream (2015), returning to the role in Hong Kong and Wellington in 2016 and also making his debut as Oberon. Other recent roles include Don José in Roland Petit’s Carmen (2017) and solos in Don Quixote (2015), Salute (2015), A Christmas Carol (2014) and Coppélia (2014). Joseph was born in Gisborne and raised in Pukekohe, and started dancing at the age of four. He trained in the UK at the Elmhurst School of Dance and The Royal Ballet School, returning to New Zealand to join the RNZB in 2011. Artists

CADENCE BARRACK Cadence Barrack was a 2015 participant in the RNZB’s National Mentor Programme, where she was mentored by long-serving company member Yang Liu. Cadence is a 2018 graduate of the New Zealand School of Dance classical programme. In 2016, Cadence competed in the Youth America Grand Prix Finals in New York, as well as the Royal Academy of Dance Genée Award in Sydney. While still a student at the New Zealand School of Dance, Cadence joined the Royal New Zealand Ballet for 2018’s Dancing with Mozart tour, performing in George Balanchine’s Divertimento No. 15, and again in the world premiere of the RNZB’s production of The Nutcracker. Cadence was one of the Royal New Zealand Ballet’s first apprentices in the apprentice programme launched this year. Cadence’s pre-professional training was at the Philippa Campbell School of Ballet in Auckland, New Zealand. She was promoted to Artist in August 2019.

LUKE COOPER | Supported by an anonymous donor Luke Cooper was born in Palmerston North and is a descendant of the Te Arawa tribe. He started dancing at a young age and joined the New Zealand School of Dance Outreach Associate programme at the age of 12. Prior to joining the RNZB, Luke performed in the company’s productions of Don Quixote (2015), The Wizard of Oz (2016) and Roland Petit’s Carmen and L’Arlésienne (2017). Luke joined the RNZB in 2018 after graduating from the New Zealand School of Dance and subsequently being awarded the Todd Scholarship. Along with performances in The Piano: the ballet, triple bill Dancing with Mozart and the premiere of Penny Saunders’ So to Speak in Strength & Grace, a highlight from the 2018 season was performing as Russian Caviar in The Nutcracker. In 2018’s Tutus on Tour Luke performed opposite Sir Jon Trimmer in Loughlan Prior’s The Long and the Short of It.

RHIANNON FAIRLESS | Supported by Rob and Michele MacDonald Rhiannon Fairless joined the RNZB as a guest artist for 2017’s Romeo and Juliet, and then permanently at the beginning of 2018. She was prominently featured in the 2018 documentary The Heart Dances – The Journey of The Piano: the ballet which followed the RNZB’s preparation for the ballet adaptation of Campion’s critically acclaimed film The Piano. She has performed various roles since returning to New Zealand, notably the principal girl in Raymonda for Tutus on Tour, Kylián’s Sechs Tänze and an array of solo and corps de ballet roles in Val Caniparoli’s The Nutcracker. Rhiannon joined the National Ballet of Canada as an Apprentice in 2013 and was promoted to corps de ballet in 2014, performing in all the classics and also contemporary works in Canada and overseas. She was the winner of the RBC Emerging Artist Apprentice Award in 2014. Rhiannon has performed corps and soloist roles in Balanchine ballets including Apollo, Four Temperaments, Divertimento No.15 and Rubies, Christopher Wheeldon’s The Winter’s Tale and Alice’s Adventures in Wonderland, John Neumeier’s Nijinsky and A Streetcar Named Desire, Wayne McGregor’s Genus, Ekman’s Cacti, and many more. She has also performed in Nureyev’s Sleeping Beauty, Kudelka’s Nutcracker and Swan Lake, Giselle and La Sylphide. She was a part of the creation process for new works including Guillaume Côté’s A Little Prince and Will Tuckett’s Pinocchio. Rhiannon began her ballet training at Mount Eden Ballet Academy in Auckland. Winner of several national and international competitions, she won the RAD Alexander Grant Training Award, and reached the finals of the Robert and Elizabeth Albert Scholarship and the Alana Haines Australasian Awards (2005 and 2007), the latter offering her a scholarship to the Australian Ballet School. Rhiannon returned home in 2017 to join the Royal New Zealand Ballet. KIARA FLAVIN Kiara Flavin joined the Royal New Zealand Ballet in July 2018 and made her debut with the company in Penny Saunders’ So to Speak, part of the company’s Strength & Grace programme, and most recently performed in The Nutcracker. Prior to her move to New Zealand, Kiara danced with the UK’s Northern Ballet, joining the company’s graduate programme in 2013 and the company in 2014. During her time with Northern Ballet, a company noted for its commitment to narrative ballets, Kiara danced many works by David Nixon OBE, including The Great Gatsby, Cleopatra, A Midsummer Night’s Dream, Dracula, The Little Mermaid, Swan Lake, The Nutcracker, Madame Butterfly, Peter Pan, Beauty and the Beast, Cinderella and Wuthering Heights as well as works by Massimo Morricone (A Christmas Carol), Kenneth Tindall (Casanova), Jonathan Watkins (1984), Kenneth MacMillan (Gloria and Concerto), Jean-Christophe Maillot (Romeo and Juliet), and Cathy Marston (Jane Eyre). Role highlights include dancing Rosaline in Jean Christophe Maillot’s Romeo and Juliet, dancing Blanche Ingram in Cathy Marston’s Jane Eyre and creating the role of Helen Burns in Cathy Marston’s Jane Eyre. She also choreographed a short work for Northern Ballet’s Choreographic Lab entitled Mantle. Kiara is from Kingston, Ontario, Canada and completed her training at Canada’s National Ballet School.

MADELEINE GRAHAM | Supported by Ryman Healthcare 2017 and 2018 were memorable years for Madeleine Graham. She began 2018 with a once in a lifetime trip to Antarctica alongside choreographer Corey Baker, creating short film Antarctica: The First Dance which has been viewed more than one million times online. Returning to New Zealand, Madeleine performed in Dancing with Mozart, including a powerful solo in Corey Baker’s Antarctica-inspired The Last Dance, and Strength & Grace, and in several solo roles in The Nutcracker, including young heroine Marie. 2017 saw Madeleine take on principal roles in the Royal New Zealand Ballet’s classical repertoire. She performed the role of Vivette in L’Arlésienne by Roland Petit and her portrayal of Juliet in Francesco Ventriglia’s Romeo and Juliet garnered critical acclaim, both for her strong technique and her ability to take the audience on an engaging emotional journey. Madeleine joined the RNZB for Giselle in 2012, becoming a permanent member of the company in 2013. In her first full season with the RNZB, Made to Move, she created a role in Javier De Frutos’ The Anatomy of a Passing Cloud. She has danced with the RNZB on overseas tours to China, US, UK and Italy and Hong Kong. Other performance highlights include the Neapolitan Dance in Swan Lake, Flower Festival in Genzano, Princess of Porcelain in Francesco Ventriglia’s The Wizard of Oz, Javier De Frutos’ Banderillero, Liam Scarlett’s A Midsummer Night’s Dream, and performing in Alexander Ekman’s Cacti and William Forsythe’s In the Middle Somewhat Elevated during the acclaimed Speed of Light mixed bill. Born and raised in Melbourne, Madeleine trained at the Victorian College of the Arts and The Australian Ballet School, graduating in 2012.

KIHIRO KUSUKAMI Kihiro Kusukami joined the Royal New Zealand Ballet as a guest artist for Strength & Grace in August 2018 and became a full-time member of the company that September. Kihiro’s first national tour with the RNZB was Val Caniparoli’s The Nutcracker. Kihiro spent 2017 with Queensland Ballet’s Jette Parker Young Artists Programme, appearing in productions including Amy Hollingsworth’s Glass Heart, Liam Scarlett’s No Man’s Land, Ben Stevenson’s Swan Lake and The Nutcracker, and Trey McIntyre’s Peter Pan. Kihiro continued to perform with Queensland Ballet in 2018, in productions including Greg Horsman’s La Bayadère, Liam Scarlett’s The Firebird and Carlos Acosta’s Carmen. Originally from Nagoya, Japan, Kihiro was awarded a scholarship to The Australian Ballet School at the 2013 Youth America Grand Prix, training at the School from 2014 – 16 and performing as a member of the Dancers’ Company of The Australian Ballet. His roles with the Dancers’ Company included Hilarion in Giselle, and in 2016 he also appeared in Houston Ballet’s production of Romeo and Juliet during the company’s Australian tour. MINKYUNG LEE Minkyung Lee made her New Zealand debut in Val Caniparoli’s 2018 production of The Nutcracker as Spanish Chocolate and French Pastilles and in the corps de ballet. Originally from Seoul in South Korea, Minkyung completed her dance training at Canada’s National Ballet School after winning a scholarship at the 2010 Youth America Grand Prix. While at the School she received the Peter Dwyer Award. After graduating, Minkyung joined the National Ballet of Canada as a RBC apprentice, appearing in James Kudelka’s The Nutcracker, Swan Lake, and Cinderella, as well as Rudolf Nureyev’s The Sleeping Beauty.

YANG LIU Yang Liu joined the RNZB in 2010. Recent highlights have included performing as one of Juliet’s friends in Romeo and Juliet (2017), Alexander Ekman’s Episode 31 and Cacti as part of the Three By Ekman triple bill, and Roland Petit’s Carmen and L’Arlésienne. Other roles have included dancing as one of the Fairies in Liam Scarlett’s A Midsummer Night’s Dream in New Zealand and Hong Kong, and Alexander Ekman’s Cacti and William Forsythe’s In the Middle Somewhat Elevated as part of the acclaimed Speed of Light mixed bill. In her nine years with the company Yang has danced a number of leading roles including the Green Fairy in The Sleeping Beauty (2011), the Duck in Peter and the Wolf and Flower Festival at Genzano in Tutus on Tour 2013; the Giselle Wedding Couple pas de deux, which she performed on the RNZB’s China tour in 2013 and Moyna in Giselle when the company toured the production to the UK and Italy in 2015 and during the New Zealand restaging in 2016. Yang showed off her fantastic sense of comic timing in the role of Mercedes in Don Quixote and in Johan Kobborg’s Salute. Yang trained at the Beijing Dance Academy from 1996–2003, before joining the National Ballet of China. She is currently on parental leave following the birth of her daughter in mid-2018, and will return to the stage later in 2019.

ANNALIESE MACDONALD Annaliese trained at the McDonald College and The Australian Ballet School. She danced on The Australian Ballet’s regional tours of Giselle (2017) and Coppélia (2018); she joined The Australian Ballet as a corps de ballet member in 2019.

NATHAN MENNIS Nathan Mennis joined the Royal New Zealand Ballet in January 2018 and made an immediate impression on New Zealand audiences as Alistair Stewart in The Piano: the ballet. Nathan also played the Mouse King, Herr Stahlbaum and Spanish Chocolate in Val Caniparoli’s The Nutcracker. Nathan is from Brisbane, Australia and trained at the Eva Kohout School of Dance while receiving male coaching by Andrew Lyons, former principal at The Australian Ballet. After two years full time training at The Australian Ballet School in Melbourne, Nathan moved home to train at the Queensland National Ballet School under Artistic Director Martyn Fleming, former principal at Béjart Ballet Lausanne, English National Ballet and The Australian Ballet. Nathan competed in the 2013 Prix de Lausanne and was a finalist in the Sydney Performing Arts Challenge. This exposure earned him a scholarship to the Houston Ballet Academy’s HBII programme under Artistic Director Stanton Welch. OLIVIA MOORE | Supported by an anonymous donor Olivia Moore made her debut with the RNZB in Tutus on Tour in Tauranga in April 2018, appearing in Petipa’s Raymonda pas de dix. In 2018, Olivia also performed in The Piano: the ballet, Dancing with Mozart, Strength & Grace and The Nutcracker. In 2017, at the age of 15, Olivia was accepted as a full time classical major at the New Zealand School of Dance, where she had been a Junior Associate alongside her pre-vocational training at The Dance Education Centre in Tauranga. While at the NZSD, Olivia was chosen to take part in an exchange programme to further her training at Canada’s National Ballet School in Toronto. Olivia won classical and contemporary sections of the Petipa International Competition in Brussels in 2015. She won the Sir John Logan Campbell Ballet Award in Auckland in 2016 and was a finalist in the Performing Arts Competitions Association of New Zealand the same year.

CLARE SCHELLENBERG Clare Schellenberg was first seen by New Zealand audiences in 2018’s Nutcracker. She took her first steps on the professional stage as a trainee at Boston Ballet and Grand Rapids Ballet. During this time, she danced corps de ballet roles in Balanchine’s Serenade, Val Caniparoli’s The Nutcracker, Mário Radačovský’s Black Swan, White Swan, and Brian Enos’ Alice in Wonderland and was involved in productions of The Sleeping Beauty, Swan Lake, and Cinderella. A native of Michigan, USA, Clare, started her dance training at the Grand Rapids Ballet School at the age of nine. She spent summers studying on scholarship at Pacific Northwest Ballet School, School of American Ballet, American Ballet Theatre, and the Boston Ballet School. Clare competed in the 2016 Youth America Grand Prix Finals in New York City.

KIRBY SELCHOW | Supported by Golden Edge Nelson Pine Industries Kirby Selchow has established herself as one of the RNZB’s most compelling performers. In 2018, Kirby garnered great praise for her powerful performances in Penny Saunders’ So to Speak and Andrea Schermoly’s Stand to Reason, both premiering in Strength & Grace. She began the year in the dramatic role of Aunt Morag in The Piano: the ballet, going on to showcase her versatility in Dancing with Mozart, in which she appeared in Balanchine’s Divertimento No. 15 and Jiří Kylián’s Petite Mort and Sechs Tänze. Since joining the RNZB in January 2014, Kirby has performed roles including the lead gypsy girl in Don Quixote, Dear Horizon and Passchendaele, and the Fairies in Liam Scarlett’s A Midsummer Night’s Dream. During the company’s tour to the UK and Italy at the end of 2015 Kirby performed in Ethan Stiefel and Johan Kobborg’s Giselle and all four works in the demanding mixed bill A Passing Cloud. A highlight of 2016 was making her debut as Hermia in A Midsummer Night’s Dream during the company’s Hong Kong tour and performing the role for the Wellington season as well. In 2017 Kirby lit up the stage as the Lead Bandit in Carmen by Roland Petit as well as one of the Eight Girls in Petit’s L’Arlésienne. She performed Alexander Ekman’s Cacti and Episode 31 as part of the Three by Ekman triple bill and appeared as one of Juliet’s friends and one of the Harlots in Romeo and Juliet. Born in Perth, Western Australia, Kirby trained at the Graduate College of Dance before being accepted into The Australian Ballet School in 2009 on the Laurie Cowled Scholarship. She performed with The Australian Ballet’s Dancers’ Company in 2012 and 2013, and graduated as school captain in 2013. KATHERINE SKELTON | Supported by PW Dance & Sportswear Katherine Skelton (née Grange) is one of the RNZB’s longest serving dancers, joining the company in 2010 as the Todd Scholar. Katherine has been dancing since the age of four and trained at the Dance Education Centre in Tauranga and the New Zealand School of Dance. In 2018, Katherine was seen in classical roles including Balanchine’s Divertimento No. 15 and corps de ballet and solo roles in Val Caniparoli’s production of The Nutcracker. During the 2017 season, Katherine performed in Carmen by Roland Petit, Episode 31 by Alexander Ekman and the premiere season of Francesco Ventriglia’s Romeo and Juliet. Katherine first danced with the RNZB while still a student, joining the La Sylphide tour in 2009. In 2011’s The Sleeping Beauty, she danced the Blue Fairy and the Orange Fairy. In 2012 she performed the role of the Short Step Sister in Cinderella, and 2013 roles included the Act II ‘cygnets’ in Swan Lake and creating the role of the Cat in Peter and the Wolf for Tutus on Tour. In the RNZB’s 2014 production of Coppélia she performed the role of Ima, including the ‘Prayer’ solo in Act III. In 2015 she performed in Don Quixote, charmed critics with her performance in Johan Kobborg’s Salute, danced in the Fairy band in A Midsummer Night’s Dream and debuted in the Wedding Couple pas de deux during the RNZB’s international tour of Giselle.

LAURYNAS VĖJALIS Laurynas Vėjalis made his New Zealand debut in Val Caniparoli’s The Nutcracker in 2018, performing a range of solo roles including the Nutcracker and Chinese Tea. Laurynas moved to New Zealand after three years with the National Ballet of Canada, which he joined as a member of the corps de ballet in 2015. Highlights at the National Ballet of Canada include the peasant pas de deux in Act I of Giselle and solo roles in Balanchine’s Rubies and Genus by Wayne McGregor, as well as productions including Swan Lake, Romeo and Juliet, The Nutcracker, Onegin, The Winter’s Tale, La Sylphide, Cinderella, Nijinsky, The Concert and A Streetcar Named Desire. Laurynas was born in Lithuania and moved to Japan when he was six. He studied ballet at the Austrian Ballet School in Tokyo and then finished his studies at The Royal Ballet School in London.

LEONORA VOIGTLANDER | Supported by the Agincourt Family Trust Since joining the RNZB in 2014, Leonora Voigtlander has excelled in both classical and contemporary works. In 2018 Leonora performed in The Piano: the ballet, Balanchine’s Divertimento No. 15 and two of the new works created for Strength & Grace. To finish off the year, Leonora performed in Val Caniparoli’s The Nutcracker in a range of solo roles including Arabian Coffee, the Spanish Dance and the Act I comic cameo of the maid. The highlight of 2016 was performing in all three of the works in the acclaimed Speed of Light mixed bill, including William Forsythe’s In the Middle Somewhat Elevated, Andonis Foniadakis’ Selon désir and Alexander Ekman’s Cacti. Leonora revisited Cacti in 2017 and also performed Alexander Ekman’s Episode 31 as part of the Three By Ekman triple bill. That same year she appeared in Roland Petit’s Carmen and L’Arlésienne and in Romeo and Juliet. Leonora’s early roles with the RNZB included A Christmas Carol, Don Quixote, and Salute. She danced roles including the Wicked Witch of the West in The Wizard of Oz, Peaseblossom in A Midsummer Night’s Dream in New Zealand and Hong Kong, and in Ethan Stiefel and Johan Kobborg’s Giselle during the company’s UK and Italy tour in 2015 and the New Zealand restaging in 2016. Leonora grew up in Santa Fe, New Mexico, and Nelson, New Zealand. She started her training at the Aspen Santa Fe Ballet School and as a teenager, received scholarships to study year-round at both the School of Ballet Chicago and the Miami City Ballet School. Upon graduation, Leonora joined the Saint Louis Ballet Company. CAROLINE WILEY Since joining the RNZB in 2018, Caroline Wiley has demonstrated her versatility and flair for both classical and contemporary choreography with solo roles in works as diverse as Penny Saunders’ So to Speak, Corey Baker’s The Last Dance, Jiří Kylián’s Petite Mort and The Nutcracker, in which she appeared as Marie. Caroline hails from Fenton, Michigan and began her training at Young People’s Ballet Theatre in Flint, Michigan under the direction of her mother, Jennifer Wiley. At 14 she participated in the Blue Lake Fine Arts International Exchange programme and spent a summer touring and performing through Europe. She has attended summer courses at Charlotte Ballet, Giordano Dance Chicago, River North Dance Chicago, Hubbard Street Dance Chicago, and Grand Rapids Ballet. In 2013, Caroline guested with the Grand Rapids Ballet, under artistic director Patricia Barker, in Balanchine’s Four Temperaments. The following season she joined the company as a trainee and was promoted to apprentice, before becoming a company member for the following two seasons. Her repertoire at GRB was broad, including leading roles in José Limon’s The Moor’s Pavane, Black Swan in Mário Radačovský’s Black Swan, White Swan and the Sugar Plum Fairy in Val Caniparoli’s The Nutcracker. She created the title role in Bruce Wells’s Cinderella and had contemporary works created on her by Annabelle Lopez Ochoa, Andrea Schermoly, Penny Saunders and Robert Dekkers, as well as performing in iconic works by Paul Taylor and Gerald Arpino.

WAN BIN YUAN Wan Bin Yuan joined the RNZB in January 2018 and has performed in The Piano: the ballet, Balanchine’s Divertimento No. 15, Petite Mort and Sechs Tänze and in Strength & Grace. Bin ended the year with appearances in leading roles in Val Caniparoli’s The Nutcracker, including the Sugar Plum Fairy’s Cavalier, and the Arabian Coffee pas de deux. Bin is from Tianjin Province in and trained at the Liaoning Ballet School of China from the age of 12. He first heard about the Royal New Zealand Ballet when the company toured to China in 2013 and travelled to Beijing to see the show after the Tianjin performance was cancelled. Bin joined Beijing Dance Academy in 2013 and has found great competition success including receiving the Outstanding Performance Award at the 2013 Osaka International Youth Ballet Competition, the 2015 Liaoning Ballet School Ballet Competition Gold Medal, First Prize at the 11th National Outstanding Dance Performances in 2016 and winning the Beijing Dance Academy School Gold Medal the same year. Stage highlights include guest principal dancer for the California-based Maple Youth Ballet’s season of The Nutcracker (2015), Shanghai and Beijing performances of Swan Lake with the Hong Kong Ballet (2017), Mikhailovsky Ballet Theatre’s The Flames of Paris and Giselle (2017) and Beijing Dance Theatre’s HYPER! (2017) by Marcos Morau and Sebastian Kloborg.

TEAGAN TANK | Supported by Todd Corporation Teagan Tank graduated from the New Zealand School of Dance in December 2018 and joined the RNZB as the Todd Scholar in January 2019. Teagan was born in South Africa and grew up in Christchurch. She began dancing at the age of three and trained at the Anneliese Gilberd Academy from the age of 11. Teagan was accepted as a full time classical major at the New Zealand School of Dance in 2016 after being in the Associate Programme for 3 years, and also participating in the RNZB National Mentor Programme. During her time at the NZSD Teagan was chosen for a four week exchange at Canada’s National Ballet School and to participate in the 2018 Prix De Lausanne Partner Schools Choreographic Project in Switzerland. In 2018, Teagan performed in the Royal New Zealand Ballet’s Dancing with Mozart in the corps de ballet for Balanchine’s Divertimento No. 15 and also joined the RNZB’s corps de ballet in Val Caniparoli’s The Nutcracker. Apprentices

GEORGIA BAXTER Georgia was born in Australia and grew up on the Sunshine Coast, Queensland. She started her dance training at the age of four and trained at En Pointe Dance Centre from the age of 11. She was accepted to Houston Ballet Academy at the age of 14 and trained in their Professional Division Program for three years. During her time at HBA she was chosen to travel to Switzerland to represent Houston Ballet Academy in the first Prix de Lausanne Partner Schools Choreographic Project in 2018. She also performed with Houston Ballet in Stanton Welch’s Nutcracker and Ben Stevenson’s Coppélia and toured with the company to Dubai in 2018 for Stanton Welch’s Swan Lake.

ELLA CHAMBERS Ella Chambers joined the Royal New Zealand Ballet as a guest in October 2018, capping off her graduate year at The Australian Ballet School. She performed in The Nutcracker as a snowflake and pōhutukawa flower, and now joins the company as an apprentice for 2019. Ella was born in Sydney, Australia. She started dancing at La Vive Classique in Port Macquarie, at the age of eight. From there, she auditioned for the Australian Ballet School and in 2014 moved to Melbourne to commence full time training. During her time there, her favourite role was Cupid from the second act of Don Quixote.

LARA FLANNERY Lara was born in Wellington, New Zealand, and began dancing at the age of 3. She trained under Paula Hunt at Wellington Dance Academy and went on to join the scholars and associate programme at the New Zealand School of Dance. At the age of 15 she joined the full-time classical programme at the School. She studied at the School from 2017 until mid-July of 2019 when she joined the Royal New Zealand Ballet as an apprentice. VINCENT FRAOLA Vincent Fraola joins the Royal New Zealand Ballet as a 2019 apprentice after performing in The Nutcracker in 2018 where his roles included the Russian Caviar trio. Vincent was born in Myrtleford, Australia. He started dancing at a young age and trained at Projection Dance School under the direction of Tim Podesta. In 2016 Vincent was accepted as a full time classical major at the New Zealand School of Dance. Whilst at the school Vincent was chosen to take part in an exchange programme at Canada’s National Ballet School in Toronto and invited to perform at the 5ème rencontre internationale de danse in Tahiti.

CALUM GRAY Calum Gray joins the RNZB this year as an apprentice. Calum took up dancing as a hobby at the age of eight. As a teenager, he recognised his desire to dance professionally after being inspired by seeing a performance of Romeo and Juliet by Northern Ballet. Calum’s family immigrated to New Zealand from North Wales when he was just 14. He began full time dance training at 16 and subsequently entered the New Zealand School of Dance, from which he graduated in 2018. Calum’s talents were highlighted in the School’s 2018 graduation performance, dancing Christopher Wheeldon’s acclaimed pas de deux, After the Rain.

KAYA WEIGHT Kaya Weight joins the RNZB as an apprentice after performing in the 2019 Alana Haines Australasian Awards finals. In 2018 Kaya took part in the Royal Ballet School intensive, Hong Kong and Prix de Lausanne pre-selection in Brazil. Kaya was also invited to take class at Ballet National Sodre. In 2015 Kaya began full time ballet training in Sydney, Australia. Her most recent training has been at Classical Ballet 121 with former Royal Ballet First Soloist, Gillian Revie.

From left / Kate Kadow (Kihiro Kusukami in background) in rehearsal for the Flames of Paris pas de deux; Caroline Wiley in rehearsal for Serenade; Leonora Voigtlander in rehearsal for Serenade; Ella Chambers in rehearsal for Serenade; Caroline Wiley and Cadence Barrack in rehearsal for Serenade.

YOUR TICKET IS JUST THE BEGINNING

THE ROYAL NEW ZEALAND BALLET BELONGS TO ALL NEW ZEALANDERS.

So let’s get to know each other and get even more out of your RNZB experience.

JOIN THE DANCE Fall in love with dance and enjoy the thrill of a lifetime of involvement with the RNZB. Your 2019 subscription is just the first step. We invite you to come closer to the RNZB and enhance your experience through a range of opportunities.

COME CLOSER PARTNER A DANCER Enhance your enjoyment of ballet through See ballet through new eyes by partnering pre-show talks, community events and a dancer and supporting excellence in our other engaging activities offered by the international company of artists – a RNZB Education Programme. wonderful opportunity for individuals or rnzb.org.nz/education organisations to invest in the living arts. rnzb.org.nz/partners BE A FRIEND Become a Friend or Young Friend of the STRENGTHEN YOUR COMMUNITY RNZB and join the activities of a passionate Create solutions through trust and group dedicated to supporting the RNZB foundation grants, and share the joy of and sharing dance with members of all ages. dance with Kiwis across the country. rnzb.org.nz/friends rnzb.org.nz/trusts

MAKE IT HAPPEN INVEST IN THE FUTURE Influence the success of your national Include a gift to the Ballet Foundation of ballet company by making a charitable gift New Zealand in your will and support ballet today, and take pride in helping the RNZB for future generations to enjoy. excel throughout 2019. balletfoundation.org.nz rnzb.org.nz/support

BE OUR PARTNER In the following pages we offer our grateful Begin a dynamic corporate partnership thanks to the individuals and organisations with the arts and join the exceptional cast who have made this production possible. of your national ballet company. To add your name, visit www.rnzb.org.nz/ rnzb.org.nz/sponsors get-involved or complete the form enclosed with this programme. RNZB dancer Clare Schellenberg. Clare RNZB dancer RNZB.ORG.NZ/SUPPORT

To discuss how your organisation could benefit from a strategic partnership rnzb.org.nz/ with the RNZB, please contact Diane Field, Corporate Development Manager, getinvolved [email protected] or on 09 379 4004.

SUPPORTED BY MAJOR MEDIA PARTNER NATIONAL TOURING PARTNER

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SUPPORT FROM TRUSTS AND FOUNDATIONS

Les and Sonia Andrews Cultural Foundation

PARTNER A DANCER

The Royal New Zealand Ballet is pleased and proud to acknowledge the generous support of the following individuals and organisations: Anonymous x 2, Agincourt Family Trust, Antipodes Water Company, Mark and Louise Binns, Isaac Hikaka and Jessica Miles, Catherine and Steven Fyfe, Gibson Sheat, Golden Edge Nelson Pine Industries, Ann-Louise and Campbell Gower, Les Mills, Rob and Michele MacDonald, Nautilus Estate of Marlborough, PW Dance & Sportswear, The Pye Foundation, Ryman Healthcare, Todd Corporation, The Dress Circle, The Wallace Foundation. HELP BRING THE ROYAL NEW ZEALAND BALLET TO THE STAGE

Everyone who enjoys and values dance can play a role in the success of New Zealand’s national ballet company. Te Manatū Taonga, the Ministry for Culture and Heritage generously provides significant funding to the Royal New Zealand Ballet – but this, together with income from ticket sales, is not enough to cover costs for choreographers, composers, lighting design, costume design and creation, theatre rental and marketing as we expand our repertory with the spirit of Aotearoa. Contributions from companies, foundations and individuals like you are vital to our success. Every gift, of any size, makes a difference and is always put to good use. We offer donors a variety of programmes to meet a range of interests, including regular donations for our day-to-day operations, our Annual Appeal for Hansel & Gretel, the chance to commission new choreography and to support individual Artists. However you choose to get involved, you will have the satisfaction of knowing that you are making a real difference to the work that you enjoy onstage.

FRIENDS OF THE ROYAL NEW ZEALAND BALLET With memberships ranging from $30 to $80 a year, joining the Friends of the RNZB is an accessible way to be part of the company all year long. Learn even more about your beloved national ballet company and enjoy the perks of discounted tickets, invitations to Dress Rehearsals and special events, and gain deeper insight into what happens behind the curtain with our email and posted newsletters. To learn more or to become a Friend of the RNZB, fill out the form at the centre of this programme or get in touch with Tony King, on 021 246 0382 or [email protected].

DRESS CIRCLE Become a philanthropist with a donation of $250 of more and join the Dress Circle. You can get to know the company by joining senior management and Artistic staff at events, watching dancers take class and coming back stage for behind-the-scenes tours. Enjoy a priority subscription booking period and personalised service when booking tickets. Premiere and Director’s Circle donors receive additional opportunities, tailored to your interest. Enhance your relationship with the Ballet as a Dress Circle donor and enjoy special insights into our work. Invest in the excellence at the heart of the company by supporting and following the activities of a specific dancer. A gift of $10,000 to Partner a Dancer endorses individual Artists – they get so much from it – and gives you a unique way to know the company through the eyes of your dancer. We gratefully acknowledge our current Dress Circle, Premiere Circle, Director’s Circle and Partner a Dancer supporters, and hope that you will join them. Contact Bryna O’Brien-Kiddey, Philanthropy Manager, on 04 381 9030 or [email protected] for more information. rnzb.org.nz/support DIRECTOR’S CIRCLE AND PARTNER A DANCER DONORS FROM $10,000 Anonymous x 2 Catherine and Steven Fyfe Amanda and Donald Horn Mark and Louise Binns Ann-Louise and Campbell Gower Michele and Rob Macdonald Sir Roderick and Lady Gillian Deane Isaac Hikaka and Jessica Miles

PREMIERE CIRCLE FROM $5,000 Anonymous Pamela Webb Charitable Trust Margret Trotter Ros and Philip Burdon (managed by Perpetual) William and Lois Manchester Trust Anna Chandulal and Hamish Mackay Heather Simpson CNZM Fran Wyborn The Emery Family Tim Storey Anne and Peter Hinton Katrina Todd

DRESS CIRCLE FROM $2,500 Anonymous Jane Meares and Denis Clifford Bruce Rae and Margaret Mabbett Paul and Sheryl Baines John and Helen Meehan Sir Tim and Prue Wallis Candis Craven and John Daly-Peoples Dr Tom and Mrs Ann Morris

DRESS CIRCLE FROM $1,000 Anonymous x 3 B and S Kidd Jenny Smith Denis and Verna Adam Landley Law Limited Suzanne Smith and Bruce McClintock Philip Andrew and Aimee McCammon Jiali Liu Deb Stantiall Resettlement Trust Jo and Alastair Blair Dr and Mrs G Melrose Dame Adrienne Stewart Je Lan Brash Moonlight Gallery Ltd. Harry Stronach Trish Brown and Geoff Dalbeth Tony and Cara Norwell Lady Tait Alison Buchanan and Eric Johnston Amon and Karen Nunns Stephanie Tattersfield Larry Carne and Roz Machon Prue Olde Geoff and Helen Thomas Allison and Victor Diem Collin Post and Brenda Young Prof Alan and Mrs Rosalie Thurston Josephine and Jorgen Foged Dr Mary P Quin Barbara Trimmer Shirley Floyd Lyn and Bruce Robertson Trueform Spas Charlotte and Marcel Gray Peter and Juliet Rowe Frances Turner Gribble Family Trust Rachel and John Ryan Jennifer Wang Dame Rosemary and Michael Horton Susan and Anand Satyanand Ming Xia Polly and Mathilda Howson Christine and Keith Savory Don and Jannie Hunn Hugh and Emma Sintes

DRESS CIRCLE FROM $500 Anonymous x 11 Susie and Alfie des Tombe John Marsh Jannene Alexander Grace and Paul Dunmore Sheila and Bruce Morris John and Deb Avery Michelle and Chris Gallagher Trish and Roger Oakley L and J Barber Douglas Higgins Dr C J Pausé Lilias Bell Melinda and Mark Levene Karen Ross Virginia Breen John and Sue Maasland Judy Salmond Diana and Colin Crombie Sue Mair Josie Ogden Schroeder Jewel Dell Ann Mallinson Gilli Sutton DRESS CIRCLE FROM $250 Anonymous x 20 Miriam Dean Janet and David Mayes Nadine Armiger Destin Consulting Ltd Clan McGood Elizabeth Armstrong Robert & Dinah Dobson Helen McQueen Jean Atchinson Judith Doyle Jocelyn and Robin McSporran Margaret and Warren Austad Penelope Dunkley Yolanda Morgan Hon. Margaret Austin Extreme Dance Chris and Jennifer Myers Jade and Matiu Badcock Lance Feldwicke Kylie Needham Margaret Barker P Fossil Ema O’Brien Andrew and Libby Barrett Janet Francis Mike and Caroline Rachlin Naomi Basson Sandra Greenfield Douglas and Pam Robertson Sue Batley and Rob Hole Sandra Greig MNZM Michael Rompelberg Peter Bertram Sandra Guy Charlotte Shipman Bettina Brown Hawke’s Bay Ballet and Dance Inc. Sue Slater J E Brown Les Holborow Caroline Steele and Shayne Rumbal Mary E Brown Peter and Nicola Jeffares Bea and Brian Stokes Vanessa Cathie and Family Leigh Jones Diane Strevens Tabitha and Wallace Chapman Max Kerr and Jenny Robertson June Styles CMD, Ltd. Kinajil-Moran Family Anita and Camille Sumpter Jocelyn Colton Stephen Kós and Jocelyn Afford R C and J Turner Debbie Cook Peter Ledingham Robert Watson Landscape Architects Susannah and Mark Cookson Lowe Family Glenda L West Geoffrey Cox and Barbara Hochstein John and Sue Maasland Anthony Wright and Selene Manning Richard and Valarie Crooks Mel Maguire Susie Wyness

From left / Kirby Selchow in rehearsal for Serenade; Kirby Selchow in Stand to Reason, 2018; Katharine Precourt; Abigail Boyle and Sara Garbowski in Stand to Reason, 2018; Kate Kadow in rehearsal for Serenade. ANNUAL APPEAL AND SPECIAL INITIATIVES Invest in the design and construction of a new costume or assist us to commission new work from significant and celebrated choreographers from around the world. Every year we invite you to be a part of our special projects – outside of our regular work – and our Annual Appeal for our major Christmas show. For 2019 you can help create Hansel & Gretel; a brand new major production, commissioned by the Royal New Zealand Ballet from choreographer (and RNZB Soloist) Loughlan Prior, composer Claire Cowan and designer Kate Hawley. This major premiere brings together three of New Zealand’s brightest creative talents to tell a timeless tale for audiences young and old. Donations are welcome at any level, and we gratefully acknowledge donations over $250. Support the annual appeal by filling out the form at the centre of this programme or contact Bryna O’Brien-Kiddey, Philanthropy Manager, on 04 381 9030 or [email protected] for more information. rnzb.org.nz/appeal

FROM $5,000 FROM $1,000 FROM $250 Ann-Louise and Campbell Gower Anonymous x 1 Anonymous x 2 Les and Sonia Andrews Cultural Paul and Sheryl Baines Lilias Bell Foundation Sarah and Tim Bartlett Peter Bertram Jane Meares Ros and Philip Burdon Alison Buchanan and Eric Johnston SKOPE Industries Ltd Allison and Victor Diem Jewel Dell Elizabeth and Geoffrey Lee Peter and Nicola Jeffares Diana Marsh and Francis Cooke Gretchen Marchant and Geoffrey Horne Dr C J Pausé Judy Salmond Penelope Ryder-Lewis and Shanwen Tan and Family Hugh Rennie Elizabeth Whyte FOUNDING PARTNERS We are pleased to recognise the generous people who, through their vision and foresight, generously supported the RNZB prior to the establishment of our philanthropy programme.

Advance Dance Guild Friends of the Royal New Zealand Sam Neill and Noriko Watanabe Yvonne and Chris Coon Ballet Ron and Margaret Saunders Trust Laurie Coon Foundation The James Wallace Arts Trust Friedlander Foundation Richard and Sally Jarman

THE BALLET FOUNDATION OF NEW ZEALAND The Ballet Foundation of New Zealand is committed to building a sustainable fund to provide long-term stability for ballet in New Zealand. Gifts made to the Foundation ensure that today’s budding dancers can dream of representing New Zealand on the world stage, and that tomorrow’s audiences will enjoy international talent right here at home. The Ballet Foundation is an independent charitable trust that works closely with the RNZB to support, promote and advance ballet in New Zealand. The Ballet Foundation makes grants in support of ballet. It is keenly committed to ensuring a strong future for the RNZB, helping the company to attract new supporters. Grants made by The Ballet Foundation support artists and individual projects and contribute to the ongoing costs of nurturing and staging world-class ballet in New Zealand, including through its support of the Harry Haythorne Award and tickets subsidies for low-decile schools attending performances. The RNZB and the Trustees of the Ballet Foundation are pleased to acknowledge the Foundation’s key supporters.

The Bayleys Foundation The Dunphy Family Harry Haythorne Mark and Louise Binns The Emery Family Estate of Barbara Webster James and Helena Brow James Farmer, QC Adrian Burr Josephine and Ross Green BEQUESTS Bequests are a meaningful way to ensure that future generations can continue to enjoy world-class ballet in New Zealand. They provide vital funding for our company and serve as a tribute to the donor’s love of ballet and the RNZB. We encourage you to remember ballet by including a bequest to the Ballet Foundation in your will. It is a personal way to participate in the future of dance and to share your passion for the RNZB with others. If you are considering a legacy, please contact the Ballet Foundation or the RNZB Philanthropy Manager for a confidential discussion. There are a variety of ways that your bequest can support exceptional ballet, and we appreciate the chance to discuss the options with you so that you can make the best decision for your legacy planning. For more information about leaving a bequest, please email [email protected] or visit balletfoundation.org.nz We are honoured to acknowledge the supporters who have chosen to invest in the future of ballet by including a gift in their wills.

REALISED LEGACIES Ron and Margaret Saunders Trust* Bryan Crawford Jacqueline Banks* Margaret Chilton Scott* Judith Doyle Mona Emily Dyer* Melba Gray Smith* The Emery Family Bernice Horne* Phyllis Emily Steedman* Warwick and Leigh Kennedy Hon. John Falloon* Barbara Webster* The Lynn Trust Marian Louise Holt* Mrs Mary Wood* Melissandra McDonald* Hilda May Godley* Jane Meares NOTIFIED LEGACIES Joyce Irene Maude Kemp* Tracey and Olivia Ray* Anonymous x 5 Katherine Margaret Leslie* Douglas and Pam Robertson* Mark and Louise Binns Mavis Matthews Mateer* Karen Ross Lilias and Johnny Bell ME McHardy* Ian Webster Anne Briden* Mrs Noelene McIlroy* Leonard J Wilson* Alison Buchanan and Eric Johnston Frederick James Moselen* Peter Wright* Frances Coe Dorothy Nora Paterson*

*We are pleased to recognise donors who have chosen to bestow their legacy gift directly to the RNZB. RNZB EDUCATION

Increase your knowledge • Enhance your enjoyment • Learn and be inspired

FOR AUDIENCES AND COMMUNITIES FOR DANCERS AND DANCE TEACHERS

AT PERFORMANCES Pursue your dreams with open classes for aspiring dancers taught by RNZB artistic Get the most out of your trip to the ballet staff and company members. Ballet for Boys with Warm Up, Curtain Up before some classes give male students a special chance performances (gold coin entry), free to learn from male teachers, including post-matinee Q&A sessions with dancers members of the RNZB. Dedicated senior and pre-performance talks. students can also apply to the RNZB’s ALL YEAR ROUND national mentor programme, pairing Visit the website, sign up for our talented students with company dancers for e-newsletter, and follow us on Facebook a year of insight and support. for updates – including community events, Dance teachers again have the opportunity open days and more. There’s something for to take part in professional development everyone. Look out for our open day at seminars. Together with their students they Te Papa and for our participation in Auckland can also enjoy the RNZB’s classes on stage Live’s free Pick & Mix performances. which showcase the company at work.

FOR SCHOOLS FOR EVERYONE Let us come to you! Our skilled RNZB Dance The RNZB is dedicated to making dance Educators offer tailor-made curriculum- accessible, with initiatives including linked dance workshops to primary and audio-described performances, sign- secondary schools throughout New Zealand. interpreted tours, relaxed and sensory- Comprehensive NCEA Dance and other friendly performances and an expanding great classroom resources are also available. partnership with the Department of Make the most of discounted RNZB tickets Corrections to take dance into prisons. or attend special schools-only matinees. In 2019 we will take our popular Ballet in a Box performances to ten centres nationwide.

RNZB Education gratefully acknowledges additional support in 2019 from the Kelliher Charitable Trust, the Ballet Foundation of New Zealand, the Rātā Foundation, Foundation North, the Les and Sonia Andrews Cultural Foundation, Wellington Community Trust and Perpetual Guardian.

Find out more: visit rnzb.org.nz/education or contact Education and Community Manager,

Pascale Parenteau: [email protected] / 04 381 9001. Sin. Frank by Photograph 2018. Manukau, Centre, Events at the Vodafone performance’ the ‘relaxed after with children Mayu Tanigaito RNZB dancer ‘ Your initiatives are leading examples in New Zealand of what can happen to increase access to dance with some creative thoughtful leadership.

RICHARD BENGE | Executive Director, Arts Access Aotearoa INVEST IN THE FUTURE OF BALLET

Join us in building a bright future for the RNZB and ballet in New Zealand. Include a gift to The Ballet Foundation of New Zealand in your will and help future generations enjoy the classical dance you love. Your bequest will be invested to provide an on-going, sustainable source of support so that the Foundation can continue to nurture the growth and development of ballet in New Zealand. As you plan your legacy, you can take pride in becoming the support ‘waiting in the wings’, far into the future. For more information on including the Foundation in your will, visit balletfoundation.org.nz or contact [email protected] to begin a confidential discussion.

The Ballet Foundation of New Zealand is an independent charitable trust (registration number CC47241). Patron: Lady Susan Satyanand. Ambassador: Dame Trelise Cooper. Trustees: Jane Meares (Chair), Lilias Bell, Louise Binns, Sarah Cole, Ann-Louise Gower, Melanie Morris, Victoria Muir, Ian Webster. INVEST IN THE FUTURE OF BALLET

Join us in building a bright future for the RNZB and ballet in New Zealand. Include a gift to The Ballet Foundation DIRECTOR Garry Trinder MNZM of New Zealand in your will and help future generations enjoy the classical dance you love. Your bequest will be invested to provide an on-going, sustainable source of support so that the Foundation can continue to nurture the growth and development of ballet in New Zealand. As you plan your legacy, you can take pride in becoming the support ‘waiting in the wings’, far into the future. For more information on including the Foundation in your will, visit balletfoundation.org.nz or contact [email protected] to begin a confidential discussion.

The Ballet Foundation of New Zealand is an independent charitable trust (registration number CC47241). Patron: Lady Susan OFFICIAL SCHOOL OF THE Satyanand. Ambassador: Dame Trelise ROYAL NEW ZEALAND BALLET Cooper. Trustees: Jane Meares (Chair), Lilias Bell, Louise Binns, Sarah Cole, Ann-Louise Gower, Melanie Morris, Victoria Muir, Ian Webster. NZSD classical ballet student RIley-Jane Dickie www.nzschoolofdance.ac.nz Photographed by Stephen A’Court Over 30 friendly villages. 11,000 happy residents. 5,000 dedicated staff . And passionate supporters of the

We’d love to hear from you. Please call us for your free copy of our Experience the Diff erence book. 0800 588 222 www.rymanhealthcare.co.nz Retirement living and care at its very best. Nadia Yanowsky and Paul Mathews performing in the Ryman Healthcare season of The Nutcracker. Photo: Stephen A’Court Over 30 friendly villages. 11,000 happy residents. 5,000 dedicated staff . And passionate supporters of the

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We’d love to hear from you. Please call us for your free copy of our Experience the Diff erence book. 0800 588 222 Get exclusive Arts www.rymanhealthcare.co.nz & Culture experiences Retirement living and care at its very best. with Vodafone Rewards Discover more at vodafone.co.nz/rewards Nadia Yanowsky and Paul Mathews performing in the Ryman Healthcare season of The Nutcracker. or fi nd them in the My Vodafone app Photo: Stephen A’Court

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SUBSCRIBE TO NORTH & SOUTH GET THE ‘BEST OF’ EMAIL FIND NORTH & SOUTH Subscribe via Sign up to North & South’s ONLINE magshop.co.nz/north-south e-newsletter at noted.co.nz/north-south noted.co.nz/north-south ART IS QT WELLINGTON’S LOVE AFFAIR, A NOT-SO-SECRET BUT LIFE-LONG CRUSH.

IN TRUE QT STYLE, WE HOLD ART DEAR IN ALL ITS FORMS, FROM PIROUETTES ON STAGE, PAINTINGS ADORNING WALLS OR ON A PLATE IN HIPPOPOTAMUS OR HOT SAUCE .

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GARAGE PROJECT ADVERT RNZB dancer Cadence Barrack in rehearsal for Serenade. WWW.NAUTILUSESTATE.COM RNZB STAFF

Patricia Barker Louise Jakeway MARKETING AND Artistic Director Operations Manager DEVELOPMENT Lester McGrath Andrew Tindal-Davies Susannah Lees-Jeffries Executive Director Technical Manager Director of Marketing and Development ARTISTIC Paul Thomson Stage Manager Eleanor Bucher Clytie Campbell Marketing and Sales Manager Ballet Master Kirsty Chandler Deputy Stage Manager Jeremy Brick Laura McQueen Schultz Media and Communications Antony Goodin Ballet Master Manager Head Mechanist Nicholas Schultz Hayley McCarthy Daniel Wilson Ballet Master Ticketing Manager Head of Lighting Michael Auer Anna Hinderwell Alex Fisher Ballet Master Marketing and CRM Deputy Head of Lighting Coordinator Jessica Reese Whare Moke Artistic Planning Manager Diane Field Head of Audio Visual Corporate Development Nicholas Giles-Palmer Manager Company Class Pianist COSTUME Bryna O’Brien-Kiddey Christine Pearce MNZM Donna Jefferis Philanthropy Manager Music Librarian Head of Costume Esther Lofley Lisa Parkes EDUCATION Costume/Workroom Manager Events and Partnerships Manager Pascale Parenteau (on sabbatical) Education and Community Emily Barr Anthony King Manager Costume/Workroom Manager Philanthropy Coordinator

Pagan Dorgan Monique Bartosh ADMINISTRATION Senior Dance Educator Costume Assistant Jan Dunne Chloe Bishop Hank Cubitt Chief Financial Officer Dance Educator Costume Assistant Christine Hanks Bea Lee-Smith Alison Roigard Director of People and Culture Dance Educator Wardrobe Master Christine Dong Berys Cuncannon WORKSHOP Assistant Accountant Education Coordinator Gavin Underhill Jude Krautschun PRODUCTION Workshop Manager Accounting Administrator Andrew Lees Kieran Gunn Jane Burke Technical Director Carpenter Office Administrator Young dancer Nicole Denney in rehearsal for Serenade. ACKNOWLEDGEMENTS

ARTISTIC ROYAL NEW ZEALAND BALLET The New Zealand School of Dance as official school of the BOARD OF TRUSTEES RNZB. Physiotherapy services provided by CBD Physio. John Avery Trish Oakley

PRODUCTION Lisa Bates MNZM Mary Slater All lighting equipment supplied by MJF Lighting. Additional Toby Behan Katrina Todd ONZM audiovisual equipment provided by Multimedia Wellington. Lilias Bell Liora Bercovitch Thanks to Bunnings Warehouse, Fucotex GmbH & Co., KG and Steven Fyfe (Chair) (intern trustee) Mall Drycleaners. Isaac Hikaka MARKETING AND DEVELOPMENT VENUES WELLINGTON Thank you to our suppliers and supporters for always going the Managed by Wellington Regional Economic extra mile! Development Agency (WREDA), Chief Executive, Stephen A’Court, John Bannan (Blue Star Group), Bauer Media Lance Walker Group, Ross Brown and Match Photography, Homegrown Creative, Warrick Dent, General Manager Events and Garage Project, Click Suite, the Tessitura Network, Barb Stone Experiences and Ange Wakelin (Media Stone), Ben Stonyer (Phantom Billstickers), Lassoo, Network Visuals, Auckland Live, Ticket WREDA BOARD OF TRUSTEES Direct, Ticketek, Ticketmaster, MediaWorks, NZME. Kylie Archer Grant Guilford A special thank you to the Friends of the RNZB and their Tracey Bridges (Chair) Steve Maharey volunteers around the country for their continued support. Matt Clarke Wayne Mulligan RNZB portraits, production images of Stand to Reason (2018) and rehearsal images by Stephen A’Court. Other promotional imagery Dave Gibson Thomas Pippos by Ross Brown, make-up assisted by Holly Crooks for M.A.C. Other ROYAL NEW ZEALAND BALLET images as credited – thank you to Houston Ballet for their Administration Dance Centre generous assistance with production images for Artifact II. Level 1, 5 Willeston Street 115 Wakefield Street OFFICIAL SUPPLIERS Wellington 6011 Wellington 6011 Antipodes Water Company, Bunnings Warehouse, Click Suite, P O Box 27050 L’Affare, Just Water, Logan Brown Restaurant and Bar, Robt. Wellington 6141 Jones Holdings Ltd., Mall Drycleaners, M.A.C, PW Dance and New Zealand Sportswear, iSentia, Nautilus Estate of Marlborough.

Telephone 0800 4 DANCE (0800 432 623) or ADVISORS Wellington office +64 (0)4 381 9000 Legal Audit Fax +64 (0)4 381 9003 Gibson Sheat PricewaterhouseCoopers Auckland office +64 (0)9 379 4004 Representing the RNZB Information Technology [email protected] / rnzb.org.nz Employees Union Inc. LANTech E tu- Immigration The Royal New Zealand Ballet is a registered Malcolm Pacific charitable trust under the Charitable Trusts Act 1957.

The Royal New Zealand Ballet would like to thank Pub Charity Limited for its generous support, helping us to serve New Zealand as a truly national company.

Thanks to Pub Charity Limited, its venues and Thank you to everyone at Pub Charity Limited publicans, we’re able to maintain our rehearsal – for helping the Royal New Zealand Ballet studios, wardrobe and offices in Wellington. to bring the very best in live performance In addition, Pub Charity Limited makes a major to communities around New Zealand. contribution to our touring costs, helping We’re proud to have your support. with venue hire, travel and accommodation for dancers and crew, from Whangarei and LEARN MORE ABOUT FUNDING FROM PUB CHARITY LIMITED: Kerikeri to Invercargill and Gore. www.pubcharitylimited.org.nz

WALTZ OF THE POHUTUKAWA FLOWERS, THE NUTCRACKER, 2018 PHOTO: STEPHEN A’COURT