By Rain Francis.

Melbourne’s pretty factor goes up about 200 percent in autumn. The sun is (mostly) shining but it’s not ridiculously hot anymore and a rainbow of leaves is descending… time to rug up and enjoy our fair city. Here are five things for dance lovers to do and see over the coming months.

1. May 25 is International Tap Dance Day, a day which commemorates the “grandfather of tap” Bill ‘Bojangles’ Robinson. Tap groups all over the city will be out in force, performing famous routines, encouraging tappers to get in for a jam and generally making a racket! Look out for Winston Morrison’s Melbourne Tap Dance and Glamour Puss Studios, amongst others. Stay tuned to their websites to find out where they’ll be performing: www.tapdancingmelbourne.com.au and www.glamourpussstudios.com.au.

2. From May 3-11, ground-breaking indigenous contemporary dance company Bangarra Dance Theatre brings its work Blak to Arts Centre Melbourne. Artistic Director Stephen Page and dancer/choreographer Daniel Riley McKinley have created a work exploring the collision of two worlds. The soundscape of award-winning composer David Page has been fused with the music of cutting edge electronic artist Paul Mac and sets are by the acclaimed Jacob Nash. Bangarra’s works are always engaging and exciting, so book your tickets for this one! Book here: www.artscentremelbourne.com.au/whats-on/event.aspx?id=3444.

3. Get your dancing shoes down to Queensbridge Square (Southbank Concourse) on the first Friday of every month, for the famous First Friday Dance Club. Presented by the City of Melbourne and supported by Ausdance Victoria, the Club is a unique opportunity for anyone to get involved, pick up some moves and most importantly have fun. Led by community and professional dance groups, each Club night will feature a different dance style. It’s free and open to all ages, regardless of ability. Click here for more info: www.melbourne.vic.gov.au/AboutMelbourne/ArtsandEvents/ArtsParticipation/Pages/1stFridayDanceClub.aspx.

4. The Australian Ballet has two fantastic productions coming up in Melbourne. From June 6-17, they will be presenting Vanguard, a triple bill of key works from choreographic giants, Jiří Kylián (Bella Figura), George Balanchine (The Four Temperaments) and Wayne McGregor (Dyad). Then, from June 21-July 1, the company brings back Graeme Murphy’s Swan Lake, a fresh take on the well-known story ballet from one of Australia’s most loved choreographers. Find out more and book tickets at www.australianballet.com.au/whats_on/main_company.

5. Ballet Revolución returns to Australia after blowing audiences away in 2011. Since their Australian visit, the Cuban company has been performing sold out seasons in London, Paris, Zurich, Berlin, Frankfurt and Vienna. So get yourself down to Arts Centre Melbourne in July! With 20 of the world’s best dancers and eight of the hottest young musicians, the company mixes ferocious ballet with street dance in what The Australian called “an irresistible Cuban cocktail of ferocious sensuality”. From July 17-20 at Arts Centre Melbourne for five performances only. Book here: www.artscentremelbourne.com.au/whats-on/event.aspx?id=3445

Photo (top): Australian Ballet’s Adam Bull and Ty King-Wall in Vanguard. Photo by Georges Antoni

By Rebecca Martin.

Two of Stuttgart Ballet’s rising stars, Daniel Camargo and Elisa Badenes, journeyed to Melbourne to perform at The Australian Ballet’s 50th Anniversary Gala late last year. They performed the first piece of the night, choreographed by Stuttgart Ballet’s own Demis Volpi. It was a challenging contemporary piece that highlighted the dancers’ exquisite bodies and technique.

Ultimately though, it was their performance later in the evening of the Don Quixote Act III pas de deux that blew the audience away and exhibited why Stuttgart Ballet is one of the world’s greatest companies.

Dance Informa caught up with Daniel and Elisa upon their return to Germany following a tour to China with Stuttgart Ballet.

Tell us a little about your dance training.

Daniel Camargo
I began my dance training in my native country Brazil at the Guaira Ballet School in Curitiba. In 2005, I participated in the Youth America Grand Prix and met Tadeusz Matacz, Director of the John Cranko School, who invited me to come to Stuttgart. At the John Cranko School I studied with Petr Pestov, a great teacher who influenced me very much. In 2009, I joined the Stuttgart Ballet.

Elisa Badenes of Stuttgart Ballet in Don Quixote.

Elisa Badenes
I started at age 11 at the Conservatorio Profesional de Danza de Valencia in my home country of Spain. My teacher was Rafael Darder.  In 2008, I participated in the Prix de Lausanne and received a scholarship to the Royal Ballet School where I studied for one year. In 2009, I auditioned for the Stuttgart Ballet and joined the company.

What was it like to perform for The Australian Ballet?

Daniel Camargo
Amazing. The entire company was very nice and welcoming. Of course it is always interesting to see how different companies work. I found the Australian Ballet to be like a big family with lots of positive energy.

Elisa Badenes
It was very nice and a lovely experience. Everyone was working so hard and it was clear from the atmosphere that it was a very important evening for the company. The staff and the dancers made our stay really enjoyable and comfortable.

What did you think of Australia and of the dancing?

Daniel Camargo
Melbourne was fantastic and in general the country reminded me of the USA in terms of the “wide open spaces.” Everything seemed very new and the mix of architectural styles was impressive. The people are very friendly. 

Elisa Badenes
I always wanted to travel to the “other side of the world,” so this was a dream come true for me! Everything was exciting. We really loved the people.  Unfortunately we didn’t have much time to travel around but when we left we had a very positive overall impression of Melbourne. The level of the dancers was very good and it was especially nice to see how supportive the audience is of the dancers.

What is your favourite piece to perform?

Stuttgart Ballet’s Daniel Camargo in Don Quixote

Daniel Camargo
So far, definitely the full length Don Quixote!

Elisa Badenes
It’s hard to say…. I just love all the pieces I have danced so far.

Do you prefer traditional ballet or modern pieces?

Daniel Camargo
Both. I love the traditional pieces, the classics, as well as contemporary works. It is the most challenging to be involved in the creation process for brand new works, but it is very exciting.

Elisa Badenes
I simply can’t choose because the biggest pleasure is to be able to do both. I can’t imagine dancing just classical or just modern. I love dancing different styles and different works. That is one of the big pleasures of our job, that we are changing roles, characters and styles.

What would you do if you weren’t a dancer?

Daniel Camargo
Sports – soccer, skateboarding or snowboarding.

Elisa Badenes
I could imagine studying, but it would surely involve the arts or a profession where one has contact with many people.

Top photo: Stuttgart Ballet Soloists Daniel Camargo and Elisa Badenes. Photos courtesy of Stuttgart Ballet.

Returning to Australia after a five-year stint in the UK, international ballet principal Matthew Lawrence is ready to do much more than dance in a state of sunshine.

By Paul Ransom.

Most Australians would understand why someone would want to bail out of the English winter to the permanent warmth of Brisbane, but weather is not the only reason Matthew Lawrence is leaving his principal role with the Birmingham Royal Ballet to join Queensland Ballet.

A Kiwi by birth but trained here, Lawrence joined the flagship Australian Ballet in 2003 before decamping to the English midlands in 2008. Along the way he picked up Green Room nominations, won a People’s Choice Award and established himself on the world stage. Now, with his dancer wife and newborn in tow, he returns to these shores as the new Principal Dancer under the directorship of Li Cunxin (of Mao’s Last Dancer fame) at one of the country’s leading companies.

“The big attraction was dancing for Li and his exciting vision for Queensland Ballet,” he states simply. “Also, with my young family, it means being closer to family and having an outdoor, vitamin D-rich lifestyle.”

Matthew Lawrence. Photo by Richard Batty.

As someone who has lived and danced in both the European and Antipodean ballet cultures, Lawrence is probably better placed than most to contrast and compare. “You can get extremely convoluted discussing the Australian versus European differences,” he acknowledges with a hint of wry, dry humour. “But I’d say the major difference that influences European dancers is the huge diversity of dance styles all available within walking distance.”

If Matthew Lawrence sounds a little guarded here, it’s because he has more reason than most dancers to be careful about spouting easy opinion. In between dancing lead roles in classics like Romeo & Juliet and Giselle, Lawrence puts fingers on keys as a dance writer. He reveals that he has been writing “seriously for a couple of years” for periodicals and websites, most notably the prestigious, century-old, UK-based monthly Dancing Times.

The twin roles, he admits, create an inevitable tension. “Being a dancer and a dance commentator I have to be careful,” he explains. “Having said that, I enjoy broaching some of ballet’s traditional taboos – like dancer health and the relationship between conductor and dance – in a less emotive, more factual way. I just have to careful at which point, if at all, I bring myself into the article.”

One of the more “touchy” issues in the Australian context is the particular relevance and function of smaller companies like Queensland Ballet, when we have the internationally lauded, 50-year-old national Australian Ballet.

Lawrence is unsurprisingly adamant on this point, perhaps not merely because he is joining the company but because he has just spent five years in Birmingham with a UK regional company.

Matthew Lawrence as the Prince and Gaylene Cummerfield as the Sugar Plum Fairy in ‘The Nutcracker’. Photo by Bill Cooper.

“Well now,” he begins, clearly fired up, “that sounds like you’re insinuating that Queensland Ballet and Birmingham Royal Ballet, by virtue of their size, title and budget, aren’t as good as their national representatives. That is certainly not the case.”

However, this is not the cue for simple comparison. “I won’t be dragged into stating the various pros and cons of dance companies, but I will say that some of the finest art and performances have come from some of these smaller companies,” he adds. “Smaller companies also often reflect, more aptly than larger companies, their region’s interests and culture.”

Which brings us back to Queensland Ballet’s newly-appointed, high profile Artistic Director Li Cunxin; a man who clearly has a vision for 2013 and beyond. Apart from recruiting two international dance stars (Lawrence and former Houston principal Huang Jun Shuang), Cunxin will be pivoting his first year at the company around a trio of classics: Cinderella, Nutcracker and Giselle. Whilst this might sound a tad safe, there is little doubt that Cunxin’s appointment is a watershed for one of Australia’s three remaining professional ballet companies; a company, it must be said, that is two years older than the national company.

As for Matthew Lawrence, his 2013 goals are much more straightforward. “I’d just like to get to 2014 in one piece,” he jokes. Doubtless, his young family and new company comrades will heartily concur.

Photo(top): Matthew Lawrence performing as Oberon in The Dream. Photo by Bill Cooper. 

Queensland Ballet’s Artistic Director Li Cunxin has announced two exciting additions to the company in 2013. Matthew Lawrence, former Principal at the Birmingham Royal Ballet, will join the Company as Principal Dancer, and Huang Jun Shuang, former Principal at the Houston Ballet, will join the company as Guest International Principal for eight months.

Mr Cunxin is delighted to share this news with audiences. “Both Matthew and Huang are extremely talented dancers. It is a real coup for the company to attract two international stars of such high calibre to Queensland Ballet, and will only strengthen our standard. We’re very excited that Matthew and Huang will be joining Queensland Ballet’s family.”

Matthew Lawrence dances as Albrecht in ‘Giselle’. Photo by Andy Ross

Huang’s position as Guest International Principal is the beginning of a new international guest artist program, funded by the Jani Haenke Charitable Trust.

“We are enormously grateful to the Jani Haenke Charitable Trust for their generous funding of this exciting venture. This new program will bring incredible versatility to the company and to our audiences. Jani’s passion and support of the arts was phenomenal, and the funding of this program builds upon her legacy to provide meaningful support to arts organisations and many other worthy causes,” said Mr Li.

Janice Helen (Jani) Haenke (1940–2009) grew up in Ipswich, Queensland. Jani trained as a librarian and worked at various institutions in Australia and the United Kingdom. Jani devoted herself to patronage of the arts and architecture, and to campaigning on environmental issues. The Jani Haenke Charitable Trust was established to support organisations that provide spiritual care, conservation and preservation of the environment, arts and cultural organisations and overseas aid.

Mr Cunxin is full of admiration for Matthew Lawrence. “Matthew has exceptionally strong classical technique, is a fabulous partner and has great experience in diverse classical and contemporary repertoire. Not only will he bring maturity, experience and strengthen the standard of male dancers in the company, he will be an inspiration and mentor to our younger dancers. Matthew also makes a very handsome prince!”

Born in New Zealand, Matthew Lawrence trained at the Australian Ballet School in Melbourne. After graduating, he joined The Australian Ballet and in 2003 Matthew was the inaugural winner of the Telstra People’s Choice Award, and went on to become a Principal artist at the company. Matthew was nominated for two Green Room Awards for Best Male Dancer. In 2008 Matthew joined Birmingham Royal Ballet as a Principal dancer.

The breadth of roles he has performed has proved him a hugely versatile artist. Matthew’s repertoire includes leading roles in Romeo and Juliet, Giselle, Cinderella, The Nutcracker, Swan Lake, Don Quixote, The Sleeping Beauty and many other classical and contemporary works by renowned choreographers. Matthew’s talents are equally sought after as a guest artist, dancing at the World Ballet Festival in Japan with the Royal New Zealand Ballet, and at the Cranko Festival in Stuttgart.

Huang Jun Shuang will perform with Queensland Ballet until the end of the Elegance season (2 – 4 August, 2013). “Huang is one of the most exciting emerging international stars. He is technically brilliant and has won many awards. The company can only benefit from having such a stand-out dancer on the international stage join the company,” comments Mr Cunxin.

Jun Shuang Huang trained for seven years and was an honour student at the Shanghai Dance School in China. In 2007 Huang joined the Guangzhou Ballet Theatre as a Principal dancer before joining Houston Ballet as a Principal dancer in 2010. Huang was a junior third winner of the 2005 Asia-Pacific Ballet Competition, a Junior Silver winner in the Taoli Cup Dance Competition (China’s top dance competition) in 2006, a Bounty Award winner at the Varna International Ballet Competition in 2008, and a Gold Medal winner in the senior division at the Helsinki International Ballet Competition in Helsinki, Finland in 2009.

Haung’s repertoire includes principal roles in Swan Lake, La Bayadère, La Sylphide, Coppélia, Le Corsaire and Don Quixote. Huang has also toured the United States and Switzerland as a guest artist.

For information about Queensland Ballet’s 2013 season visit www.queenslandballet.com.au

Top photo: Dancer Huang Jun Shuang

Glen Street Theatre, Sydney
November 30 2012

By Linda Badger.

Sydney City Youth Ballet brought us a delightful production of the Christmas classic, Tchaikovsky’s The Nutcracker. With all its festive charm, it was the perfect way to start the last few weeks leading up to the biggest celebration of the year.

A beautifully adorned stage with great details evident in the set, props and costumes was revealed in an opening scene created to take guests on a journey of fantastical proportions, into the imagination of a little girl named Clara.

Choreographically adapted for a young cast who were playing most of the lead roles, this was a very good show for a student-based production. Under expert direction, and with a scattering of professional and ex-professional dancers, this show was overall an entirely entertaining and delightful experience.

The opportunity to be involved in a full-length production for young dancers, whether they are hoping to one day make dancing their chosen career or not, is priceless experience and training. With mostly seamless set changes and many overlapping roles within the casting of the ensemble, the company and its crew should be applauded for a job well done.

There was opportunity for much talent to be showcased, with a rotating cast for the lead roles, so that more than one group of dancers could have their moment to shine. The guest artists included past Tanya Pearson Classical Coaching Academy student Halaina Hills, who is now a dancer with The Australian Ballet. She danced beautifully with her pas de deux partner Christopher Rodgers-Wilson, also with The Australian Ballet.

The strengths of the production were definitely the visual design aspects, with much detail and a sense of authenticity about the costuming, sets and props. Complimented by the commitment to the acting of the roles played by the students, there was not a dead moment, and not a cast member not fully engaged. This drew us in as an audience and kept us wanting to see what came next, even for those who have seen this particular ballet multiple times.

Weakness came unfortunately in the technical side of the dancing, across all ages of the student body involved. There were many beautiful lines with students trained to create exquisitely lengthened arabesques and développés, but transitionally, much was left much to be desired. In saying this, however, one must remember that these were mostly students and hopefully with continued guidance their understanding of the movement will be developed more fully in the years to come.

There were some extremely strong technical dancers scattered amongst the lead and ensemble roles, notably the dancer playing the doll in the opening scene and the young dancer portraying Clara in this particular cast. They were exciting to watch.

Musicality was strong most of the time, but there were moments where it could have been better utilised. This is most likely a skill set still in the development stage.

Overall, this was a sweet and entertaining ballet. It was very family friendly for those of all ages. The young cast was talented and performed with a strong sense of conviction. I really look forward to seeing all that the future holds for the young dancers in the SYCB Company.

By Rain Francis.

In the Australian Ballet’s 50^th year Dance Informa is celebrating the company by highlighting the Ballet’s Principal Dancers each edition. This edition Dance Informa speaks with two of the company’s leading male dancers, Andrew Killian and Daniel Gaudiello.

Click to catch up on last edition’s interviews with Madeleine Eastoe, Adam Bull and Lana Jones, October’s feature of Lucinda Dunn, Yosvani Ramos and Leanne Stojmenov or September’s feature of Rachel Rawlins, Kevin Jackson and Amber Scott.

Andrew Killian

Born and raised in the suburbs of Melbourne, Andrew Killian says he was never very good at sitting still. Fortunately, for a Principal artist with The Australian Ballet, sitting still is not high on the list of necessary skills.

What’s your first memory of dance, or the first time you knew you wanted to be a dancer?

My earliest memory of dancing is as a child jumping around to my father’s records in the living room at home. When I was in year 11 in high school I really decided I would try to make dance my career.

When did you join The Australian Ballet, and when did you become a Principal artist?

I joined The Australian Ballet in 2000 and did a few years in each of the ranks. I was promoted to Principal artist in March of 2011.

Andrew Killian, principal dancer The Australian Ballet. Photo by James Braund.

What was your first role as Principal? 

It was opening night of the Sydney season of the triple bill British Liaisons in 2011. I danced Christopher Wheeldon’s After The Rain and Sir Kenneth Macmillan’s Concerto – both are great ballets.

What has been a highlight of your career so far?

Apart from having danced in some the greatest cities in the world, I think the moment I’m most proud of was being promoted to Principal artist, with all my family watching. It was something I had wanted for many years. It was so great for my family to share that with me. They have seen the sacrifices that have made it possible.

Which character in a ballet do you most associate with, and why?

I have never danced any Forsythe work, that would be a challenge, and I’m looking forward to La Sylphide next year. I think the Australian production of this ballet is so beautiful.

When you are not dancing, what would you prefer to be doing?

I do love to sit on the couch and do nothing when I can, but in my time off I also try to travel. Experiencing other cultures and their history is inspiring.

If you weren’t a dancer, what would you be?

That’s a really hard question, because dance has always been my focus. I think I would still be in the theatre, maybe with the circus or something that involves crazy and talented people.

Who is your favourite choreographer?

Jiří Kylián is the master in my eyes, both as a dancer or an audience member.

What is the most challenging thing about your job?

Being away when there are birthdays and weddings of family and friends – you miss a few of these things when you travel so much.

What advice can you give to budding dancers?

If you love to dance then you are halfway there. You can’t do it without passion.

What do you love most about your job?

I get to travel Australia and the world doing what I love, with beautiful people who have become my second family.

Daniel Gaudiello

In 2003, Brisbane-born Daniel Gaudiello was seconded from The Australian Ballet School to do John Cranko’s Romeo & Juliet. A year later he was accepted into the company. Then, in 2010, he was promoted to Principal artist.  

What’s your first memory of dance, or the first time you knew you wanted to be a dancer?

I remember I went to The Australian Ballet’s production of Madame Butterfly and Divergence. I thought ballet was a bit boring until I saw Divergence and that was the first time I thought about how fun it would be to do ballet! I still love that ballet and it still gives me that feeling.

What was your first role as Principal?

The Silver Rose – and it was the very first three act Principal role I’d ever performed too.

Daniel Gaudiello, Principal dancer The Australian Ballet. Photo by James Braund

What has been a highlight of your career so far?

A career highlight for me was winning the Telstra Ballet Dancer Award in 2007 and an Australian Dance Award for Coppelia, because both times I had my parents in the audience to share my joy and success. They are usually in Brisbane and miss the big nights I have.

Which character in a ballet do you most associate with, and why?

The role of Petrouchka was a special time in my career, when I really let my guard down and let the audience see a side of me that I usually have to hide. It was a release for me and an emotional journey I loved putting myself through.

Which roles are high on your wish list?

Albrecht from Giselle, Onegin from Onegin, any spot in Bella Figura would be a gift, and Romeo again and again!

What is something most people don’t know about the life of a dancer?

For every up there is a down.

When you are not dancing, what would you prefer to be doing?

Camping on the beach, partying with family and friends or hanging out with my wife [Principal artist Lana Jones] and dogs.

If you weren’t a dancer, what would you be?

An actor or marine biologist.

Do you have a favourite TV show?

It has to be the series True Blood. I’m just a little bit nuts about it – ask my wife! It would make a great ballet, ha ha!

Who is your favourite choreographer?

Jiří Kylián, he’s a genius, and Marius Petipa – simply magical choreography. Ballet owes its life to him.

What is the most challenging thing about your job?

The politics and breaking down the stereotypes that have been created, to make way for new interpretations of roles.

Do you have a quote that means a lot to you?

Life may not be the party we hoped for, but while we’re here we may as well dance.

What advice can you give to budding dancers?

Always remember who you are and don’t be afraid to create your own path, otherwise you’ll be following others.

What do you love most about your job?

I love that I will never call it a job, more like a hobby on steroids! If it’s a job for you, you are in the wrong place.

Top photo: Andrew Killian as ‘Onegin’ and Madeleine Eastoe as ‘Tatiana’ in The Australian Ballet’s Onegin  Act 1. Photo ©Branco Gaica

By Rebecca Martin.

Chapel Off Chapel, Melbourne
24 & 25 November 2012

Since 2007, Short + Sweet Dance has been providing a platform for dancers, choreographers and directors to present their work in front of an audience while building industry relationships.

Under the guidance of Adam Wheeler, new Short + Sweet Dance Director, artists were mentored during the creative process by former Australian Ballet dancer Tim Harbour, as well as hip hop extraordinaire Etienne Khoo.

The beauty of Short + Sweet is that it isn’t just a festival – in addition to the artist mentorship and network development, there is audience involvement, prizes, and of course, the opportunity to have new work performed in front of an audience and panel of industry professionals.

This year’s Short + Sweet Melbourne was a mixed bag, with performances from classically trained dancers and those with little training alike. There were edgy pieces, bizarre pieces, beautiful pieces and hilarious pieces.

The closing night Gala was comprised of the pieces with the most audience votes, which showed that the festival is more about audience enjoyment than technical proficiency. Personally, I thought some pieces should have made it into the final and some that did shouldn’t have been there, but a popularity contest will always be fraught with differing points of view.

Program opener Project Elvis, choreographed by Michael Ralph, was an absolute delight. With 1950s dance performed to a medley of Elvis tunes, it left everyone in the audience wanting to join in. Ralph is certainly one of Melbourne’s biggest talents.

Festival stalwart Benjamin Hancock presented By Night, a piece that elucidated his exquisite line, technique and stage presence, while Man Up and Do a Solo by Bicky Lee showed that she is another huge talent to watch. Her piece explored what gender and the idea of being a girl means and she had the audience in fits of laughter with her cleverly deconstructed solo performance.

Rain Francis, who is one of Melbourne’s biggest rising choreographic stars, gave us Whatever You Do, Don’t Panic! The piece delved into the world of anxiety and panic through fluid, contemporary dance and it was a joy to watch. Lead dancer Erynne Mulholland shone with strength and beauty and took the audience on a journey through the depths of anxiety that was entirely convincing.

Hayley Arundel, the director and founder of The Space Youth Dance Company, debuted In the Eye of the Beholder with the company. Arundel’s strong classical background was evident in the piece and there were some real moments of beauty presented in her choreography. Young dancer Samantha Booker was a stand out and is definitely one to watch.

Rubix was a brilliant fusion of Irish dance and electronic music choreographed by Charmayne Dulley. It was a perfect conclusion to a night of dance and showed that Irish dance can maintain its traditional roots while implanting itself in the modern day.

The 2012 Short + Sweet Dance Melbourne awards were presented as listed below:
– Outstanding Work in Choreography – Michael Ralph – Project Elvis
– Audacious Work by A Choreographer – Lina Limosani – Borderline
– Outstanding Work by A Female – Bicky Lee – Man Up And Do A Solo
– Outstanding Work by A Male – Jake Kuzma – Sc-Fi-Vir
– People’s Choice Award – Rain Francis – Whatever You Do, Don’t Panic!

Photo: Short+Sweet Melbourne 2012 – Dance Group B. Photography by Ange Leggas 3 Fates Media. Whatever You Do, Don’t Panic! by Rain Francis

By Rain Francis.

In the Australian Ballet’s 50^th year Dance Informa is celebrating the company by highlighting three of the Ballet’s Principal Dancers each edition. This edition Dance Informa speaks with Madeleine Eastoe, Adam Bull and Lana Jones.

Click to catch up on last edition’s interviews with Lucinda Dunn, Yosvani Ramos and Leanne Stojmenov or September’s feature of Rachel Rawlins, Kevin Jackson and Amber Scott.

Madeleine Eastoe of The Australian Ballet. Photo by James Braund

Madeleine Eastoe

Perth-born Madeleine is one of Australia’s favourite ballerinas. A graduate of The Australian Ballet School, she joined the company in 1997 and was promoted to Principal in 2005. Her first role as principal, and still one of her favourites to dance, is the title role in Giselle.

What’s your first memory of dance?

Forgetting steps on stage, aged six.

What has been a highlight of your career so far?

Returning to dance after having my daughter Ella.

Which character in a ballet do you most associate with, and why?

Giselle because I’m part mad and crazy!

Which roles are high on your wish list?

Manon and Giselle again.

What is something that most people don’t know about the life of a dancer?

Sometimes, rarely, we blank on stage!

When you are not dancing, what would you prefer to be doing?

Hanging out with my family, practising yoga and riding my bike.

If you weren’t a dancer, what would you be?

I’m not sure. I’ll be making that decision in the not too distant future.

Do you have a favourite movie? Or a favourite band?

Movie: Room with a View and High Society

Singer: Jeff Buckley

Who is your favourite choreographer?

It’s too hard to single one out.

What is the most challenging thing about your job?

Being away from family and the constant maintenance of my body.

Do you have a quote or affirmation that helps you through, or that means a lot to you?

When I first performed Graeme Murphy’s Swan Lake with Josh Consandine we were the last cast to go on and because it was such an epic production, rather than practice a specific sequence of steps we had the Nike phrase ‘just do it’, to motivate us.

What advice can you give to budding dancers?

Continue to redevelop yourself and find new ways to challenge yourself as much as possible.

What do you love most about your job?

The performing, characters, time on stage, the creative partnerships and the friends.

Adam Bull of The Australian Ballet. Photo by James Braund

Adam Bull

Born and raised in Melbourne, Adam remembers being encouraged to dance by his Grade 1 primary school teacher. Years later, he trained at The Australian Ballet School before joining the company in 2002. Six years later, Adam was promoted to Principal.

What was your first role as principal?

My first principal role was as Colas in La Fille Mal Gardee when I was still in the Corps de Ballet, but my first role as a Principal artist was dancing Grand Pas Classique the night after I was promoted to Principal.

What has been a highlight of your career so far?

Dancing Siegfried in Graeme Murphy’s Swan Lake in New York, Paris, London and Tokyo.

Which character in a ballet do you most associate with, and why?

In every role you try to flesh out the character with your own stories and actions, making every role a reflection of some part of yourself.

Which roles are high on your wish list?

I have slowly ticked off all the roles I’ve ever dreamed of dancing: Onegin, Albrecht in Giselle, Des Grieux in Manon. Every role I’ve enjoyed for different reasons.

What is something that most people don’t know about the life of a dancer?

In one day we may be working on up to five different ballets.

When you are not dancing, what would you prefer to be doing?

Snorkeling at Shelley Beach, Manly.

If you weren’t a dancer, what would you be?

A presenter on a show like Getaway!

Do you have a favourite book? Movie? TV series?

Book: The Life of Pi and A Fine Balance

Movie: Life is Beautiful, The Piano and Muriel’s Wedding

TV series: Breaking Bad

Who is your favourite choreographer?

Sir Kenneth MacMillian, Wayne McGregor and Graeme Murphy

What is the most challenging thing about your job?

Maintaining your body in peak condition 365 days a year.

Do you have a quote or affirmation that helps you through, or that means a lot to you?

“Twenty years from now you will be more disappointed by the things that you didn’t do than by the ones you did do. So throw off the bowlines. Sail away from the safe harbour. Catch the trade winds in your sails. Explore. Dream. Discover.” Mark Twain

What advice can you give to budding dancers?

The quote above has served me well.

What do you love most about your job?

The environment in which I work every day. I’m surrounded by the most talented, inspiring, funny, generous people.

Lana Jones of The Australian Ballet. Photo by James Braund

Lana Jones

Born in Canberra, Lana became a Principal artist in 2010, performing the Rose Fairy in Peter Wright’s The Nutcracker. The highlight of her career so far is her most recent role, Odette/Odile in Stephen Baynes’ Swan Lake.

What’s your first memory of dance?

My first memory of dance is more to do with the ballet uniform. I loved the white leotard and lycra white cross over, and of course the little white chiffon skirt. At age five, I felt so the part!

Describe your journey with The Australian Ballet.

I joined The Australian Ballet in 2002 and was gratefully always kept busy and worked really hard at being the best I could be in everything that I danced. It was so exciting when I started getting feature roles and understudying the roles I had always dreamt of dancing, and then eventually performing them. I feel enriched in all the diverse roles I have danced and they have all shaped the dancer I am today.

Which character in a ballet do you most associate with?

I think it would have to be Juliet (in Romeo & Juliet) because she is passionate and willing to take chances.

Which roles are high on your wish list?

Manon and Giselle.

What is something that most people don’t know about the life of a dancer?

That you can’t just take a sick day as it will affect at least ten or more people.

When you are not dancing, what would you prefer to be doing?

I love being physical, so being outdoors, maybe at the beach, with my husband and my two dogs.

If you weren’t a dancer, what would you be?

Hopefully a photographer or a nurse.

Who is your favourite choreographer?

I adore the classics like John Cranko and Sir Kenneth MacMillian, but Jiří Kylián is also sublime.

What is the most challenging thing about your job?

When you are having a really bad show and you have to keep going out on stage when all you want to do is run away.

Do you have a quote or affirmation that helps you through, or that means a lot to you?

Have the confidence to be yourself.

What advice can you give to budding dancers?

Ballet does not come without complete dedication, but if you’re willing and motivated then it definitely has its rewards.

What do you love most about your job?

Transporting audiences to a world where they can escape on a journey with you. I love escaping and telling a story as a character. I also love the physicality of ballet. It’s amazing what our bodies can do!

Top photo: Lana Jones, Rudy Hawkes, Adam Bull and Amber Scott in Gemini, The Australian Ballet. Photo by Jeff Busby.

Here’s a look behind the scenes of an amazing photo shoot eight Australian Ballet dancers undertook in May of this year on Maroubra Beach in Sydney for the November issue of Vogue.

The 2012 Genée International Ballet Competition, organised by the Royal Academy of Dance, will take place in Wellington, New Zealand from 6-15 December, in association with the Royal New Zealand Ballet and the New Zealand School of Dance.

The Semi-finals (12-13 December) and Final (15 December) will be staged in the magnificent St James Theatre, the city’s leading venue for opera, dance and major musical shows and home of the Royal New Zealand Ballet.

“It is with great enthusiasm that we look forward to welcoming the RAD and the Genée International Ballet Competition to the home of the RNZB at the St James Theatre here in Wellington in 2012. Wellington is a vibrant city that is passionate about arts and culture and will provide a wonderful backdrop for this exciting competition.” Amanda Skoog, Managing Director, Royal New Zealand Ballet.

Finalists will compete for a coveted gold, silver or bronze medal, as well as significant prize money, in front of a judging panel of top ballet professionals including David McAllister, Artistic Director of the Australian Ballet, Li Cunxin, Artistic Director of Queensland Ballet and author of the best-selling autobiography Mao’s Last Dancer, and Christopher Hampson, Artistic Director of Scottish Ballet. New Zealand-born choreographer, Adrian Burnett, will create two exclusive variations (male and female) which will be premiered at the Final.

The Genée International Ballet Competition, fondly known as ‘The Genée’ is the RAD’s flagship annual event and is named after Dame Adeline Genée DBE, co-founder of the Association of Operatic Dancing, as the RAD was then known.

The competition originated quite humbly in 1931 as the ‘Adeline Genée Gold Medal’ and was introduced as an additional incentive for candidates who had passed the Solo Seal examination. Felicity Garratt was the first recipient of this award with a silver medal and then a bronze medal added in 1934 and 1956 respectively, and both gold and silver medals introduced for male dancers in 1938. The award continued to progress and develop into a competition format and remarkably it has taken place almost every year since 1931, even during the Second World War. In 2002, however Luke Rittner, Chief Executive, took the landmark decision to hold the competition outside London in order to embrace its international spirit taking it to Australia where Sydney Opera House played host to a record number of candidates. Following that success the Academy did not look back and the Genée has been presented in many cities across the globe.

Another event running alongside the main competition is the Genée Dance Challenge, a national dance challenge for young dancers across New Zealand, which will be held on Friday 14 December at St James Theatre.

Tickets for the Semi-finals, Final and Genée Dance Challenge are available from the Ticketek website at premier.ticketek.co.nz