By Kristy Johnson.

Infinity sees choreographers Graeme Murphy, Gideon Obarzanek and Stephen Page, collaborate in a powerhouse triple bill, for The Australian Ballet’s 50^th Year Anniversary.

Murphy takes a turn from his established narrative style with an abstract piece aptly titled The Narrative of Nothing. This piece allows audience members to appreciate a pared back ballet from which they are able to draw their own stories.

Having known the company intimately as a dancer and choreographer, Graeme returns to The Australian Ballet to open its milestone 50^th year.

Prior to the Melbourne premiere, Dance Informa journalist Kristy Johnson sat down with the iconic Australian choreographer.

Firstly, congratulations on your last work choreographed for The Australian Ballet, Romeo and Juliet.

Oh, thank you. I have to tell you, I really enjoyed that work. I’m so happy to hear, because I thought it was going to be hard for some of the diehard fans. They’ve had that one for a long time. I had to shake cobwebs off, you know? It’s a beautiful ballet, but this was not going to be a replica of that. There’s no point. I think it paid off because it brought in a really different audience. I think there were a lot of people who weren’t necessarily ballet people in the audience, because it was visually sort of everywhere.

Trained dancers are the best audience; they actually know how hard it is. A lot of people love ballet, without sort of knowing. And it’s not just about knowing how hard it is, it’s about knowing how much brainpower goes into making those things work. It’s about making hard things look easy. I often tell my dancers, ‘make it look harder’ (laughs).

Graeme Murphy. Photos by Lynette Wills

With your next choreographic work The Narrative of Nothing falling more on the abstract side, were you keen to break away from a pure storytelling piece?

I used to always alternate doing a storytelling work and doing a pure dance piece at Sydney Dance Company, because if you do one storytelling piece after another, you just get into this sort of really difficult deep world of ‘how do I tell this in dance?’ It’s so hard because you let the music put you in free fall. The dancers are a huge motivation in this one, because they’re all beautiful.

There will be 1500 people in that auditorium and there will be 1500 different narratives applied to my non-narrative work. That’s how it should be. Human beings are not capable of accepting abstraction. That’s human nature to tell stories.

You must be excited to be choreographing this piece as part of The Australian Ballet’s 50 Year Anniversary.

It’s like being part of a family of dancers, because I’ve been working pretty solidly here for the past thirty years. This is one of the greatest companies in the world and it’s not necessarily about standards and techniques. It’s about the fact that it lets people grow. It’s a beautiful network of individual dancers. There’s such a variety of people I like to work with and in some companies you don’t get that. You get that fabulous uniformity but you’re just hanging out for a rebel (laughs). I do love this company.

How can you tell when a dancer has that X-factor?

I think you don’t always tell when someone walks into the room. I think it’s something you learn and sometimes someone who you just saw dimly in the background pulls your eye and you store him or her in your memory for a work like this. This is a great work. To work with some of the more established people and the more unknown. I keep pushing because if I see the spark, I’m going to break your comfort zone. I’m going to push you out of your warm fluffy slippers (laughs).

Why do you think your partnership with your wife and Creative Associate Janet Vernon works so well?

We know each other so well and she was my muse for so many years. She’ll see me demonstrate the step and the dancer perform the step, but she sees beyond those things and she sees how that step should be. She was the person who would be the icing on the cake or put that level of perfection up a notch. She’s fabulous and the dancers love her because when she gives direction, they know it has the potential to push the level. The dancers want it. You’re not in this profession if you’re lazy, are you?

How does it feel to be working alongside Gideon Obarzanek and Stephen Page?

That’s extraordinary. I’ve got to keep up with the young guns (laughs). Both those choreographers have found their signature and found their stride. You see their hunger to create, and that’s what choreography needs. That’s the mark of choreography.

You have had such an amazing career to date. How do you ensure your creative ability is always flowing?

I’m very lucky. I’ve always had a good variety. I’m so blessed my job has led me and hasn’t stuck me into one mould. But at the end of the day my greatest joy is creating one one-on-one dance in the studio. That’s more thrilling than the opening night. That process as opposed to the finished product is what keeps you interested; hoping that I can sometimes break out of what comes naturally and what comes easily, and find another direction to extend my vocabulary and find some new words. It’s the same in life. You can sit comfortably in one level but occasionally you have to break the mould, find some new friends and do something that scares you. This has afforded me all of that. That’s why I’m still interested.

Infinity closes on March 6 in Melbourne. Sydney shows will commence from April 5-25. For bookings visit australianballet.com.au or call 1300 369 741.

Published by Dance Informa dance magazine – everything dance in Australia – dance news, dance auditions & dance events.

Test your dance knowledge…

By Rain Francis.

With which name would you MOST associate Ginger Rogers?

a) Gene Kelly

c) Mikhail Baryshnikov

c) Fred Astaire

d) Donald O’Connor

For which ballerina was the Dying Swan choreographed by Mikhail Fokine?

a) Anna Pavlova

b) Natalia Markova

c) Alicia Makarova

d) Anna Karenina

Who did Lucette Aldous dance alongside in the 1973 filmed version of Don Quixote?

a) Mikhail Baryshnikov

b) Rudolph Nureyev

c) Anthony Dowell

d) Carlos Acosta

Which of the following names would you LEAST associate with contemporary dance?

a) Martha Graham

b) Jose Limon

c) Cyd Charrise

d) Merce Cunningham

Which king is best associated with the origins of classical ballet?

a) Louis XIV (King of France from 1643-1715)

b) Henry VIII (England, 1509-1547)

c) Ferdinand III (Italy, 1637-1657)

d) Phillip III (France, 1270-1285)

Which of the following was Gene Kelly the star of?

a) Singin’ in the Rain

b) An American in Paris

c) Ziegfeld Follies

d) All of the above

Which American ballerina wrote Dancing on my Grave?

a) Maria Tallchief

b) Gelsey Kirkland

c) Darci Kistler

d) Cynthia Harvey

Who’s daughter is Liza Minnelli?

a) Elizabeth Taylor

b) Debbie Reynolds

c) Margot Fonteyn

d) Judy Garland

Who choreographed Cabaret, Chicago and Damn Yankees?

a) Bob Fosse

b) Jerome Robbins

c) George Balanchine

d) Alvin Ailey

What nationality is renowned dancer Sylvie Guillem?

a) Italian

b) English

c) French

d) Canadian

Answers:

1 – c, 2 – a, 3 – b, 4 – c, 5 – a, 6 – d, 7 – b, 8 – d, 9 – a, 10 – c

By Brian Nolan 

In the Australian dance world, there is a very privileged assembly of leading and influential teachers. In Victoria, we are fortunate to have three standout Divas of Classical Dance. Over the next three issues Dance Informa will be highlighting these talented teachers who have helped shape ballet in this country.

In our first interview we’ll be going 120 kms north of Melbourne, to the home of Sovereign Hill, the Gold Rush, the Royal South Street Competitions, and our first Classical Diva. In the Cecchetti world there is a lady who stands heads and shoulders above the rest – Carole Oliver. Carole is renowned for her indubitable and assiduous attention to detail, her stunning routines, her signature tutus, her students’ flawless eye make-up and the incredible ‘ballon’ that is synonymous with her pupils.

Carole or ‘Miss Oliver’ is known for the standard she has achieved in her Cecchetti based school in Ballarat. Supporting Carole is her sister Cheryl who choreographs many of the wonderful routines we see performed in competitions all over the state. The propinquity of these two sisters is what has made Carole Oliver and her school so very successful. Carole has trained many successful students from the Australian Ballet Company to Stuttgart Ballet in Germany and many of her past and present students represent Australia in Cecchetti and International Ballet competitions all over the world.

This year in August 2011, Carole celebrated her 50th year of teaching. In a reception honouring her 50 years, Carole was flattered and thrilled when past student, Amy Harris, who is currently a Soloist with the Australian Ballet, paid tribute to her.

Carole Oliver FISTD, FCBA – CICB, CERT V1 Examiner, Life Member

Who influenced you to become a dance teacher?

It was my mother and her passion for ballet. She had studied for many years herself as a girl, and because I grew up before the days of television, I recall spending most Sundays choreographing dances for my sister (Cheryl). We would perform in the living room for our family that evening.

When you first started teaching what were your aims and ambitions?

In my early years I really only taught students under the age of about 12, as I wanted to develop my own style and I constantly found it difficult with older children as I had to strip away too many technical problems before I could even begin.

Have you achieved your aims?

Let me just say that I feel very, very proud when I am watching my students perform on the stage.

What is your proudest moment in all your years of teaching?

There are so many, but I think one of my proudest moments probably came on the evening of my 50th anniversary celebration. Throughout the evening it gave me the opportunity to reflect back on the past 50 years and to see what I have managed to achieve.

What is your favorite step and why?

There are many. To select just one would be too difficult. However, a correctly placed pas de chat is high on my agenda, as well as a beautiful and sensitive port de bras, an exquisite arabesque or attitude. A fabulous jump will certainly lift my emotions!

If you could meet anyone in history who would it be and why?

The last Tsar (Nicholas II) of Russia. I would love to have received an invitation to one of his Grand Balls held at the Winter Palace (the Hermitage) in St Petersburg.

What do you think is the most important thing that has happened or influenced dance in the last 10 years?

YouTube, because it brings the world of dance right into your home!

What would you like to see happen in the next 10 years?

I feel there is a great need for us to offer and provide more opportunities for our aspiring and many talented dancers – more ballet companies would help.

What is your favourite ballet?

La Fille Mal Gardée. I just love Ashton’s choreography, it has so many beautiful moments. Also, Graham Murphy’s Swan Lake. I adore his work and his modern take on it.

What is your favourite piece of music?

Vivaldi and his Four Seasons. It has the passion and emotion to transcend me to a very happy place. Raymonda by Glazunov is another. All that beautiful music in one score – heaven!

You have produced many wonderful dancers throughout your career, is there one that stands out?

There are so many and for so many different reasons, but, two stand out. One is Amy Harris (Soloist Australian Ballet) because of her commitment and the determination that she showed from a youngster and still shows today. The other is Andrea Briody (ex Sydney Dance Company) because she never gave up. When classical opportunities didn’t happen for her she changed her focus and became very successful.

Do you think ballet competitions are necessary?

Yes, I think they provide a wonderful opportunity and foundation in stage performance. On a more personal level, it also allows students to deal and cope with disappointment and/or success, which are skills they will need to carry through life. In addition, children love to dress up and perform. It can also provide many friendships from within their peers. Just as long as it is not taken too seriously and for the wrong reasons.

Tell us about your role as a Cecchetti examiner.

Like my mother, my training was in the Cecchetti method of classical ballet. I was appointed as an examiner 30 years ago and today I am a Senior Examiner as I examine all levels within the Cecchetti system.

How would you like to be remembered?

I hope that I will be remembered as a passionate lover of ballet. Classical ballet has been my whole life and I am honoured and grateful to have been able to share my dream – especially with my family!

Next Issue: An Interview with Audrey Nicholls.

Photo: Carole Oliver and Amy Harris of The Australian Ballet at Carole’s 50th anniversary celebrations

By Rebecca Martin.

Alice Topp first pulled on her dance shoes in the town of Bendigo at the age of 4.  She relocated to Melbourne to study dance full time, first at the Victorian College of the Arts, then Leanne Rutherford’s Ballet Theatre of Victoria.  Alice then made the leap over the Tasman to join the Royal New Zealand Ballet before settling in at her current home at The Australian Ballet where she is a corps de ballet member and emerging choreographer.

For the past two years, Alice has been a prominent choreographer in The Australian Ballet’s Bodytorque seasons, with her first piece “Trace” being hailed by critics and dance lovers.  The piece was so successful that it was performed again outside of the Bodytorque program. 

Alice took time out of her demanding schedule to chat to Dance Informa about life on the road and life as a dancer.

Was Bodytorque your first foray into choreography? 
Yes, it was my first experiment with choreography. I’d never considered choreography previously until the 2010 Bodytorque season.

How did you find being on the other side of the creative process?
I loved it! There are so many different elements to consider and explore being on the other side. As a dancer, I’m used to taking directions and delivering the material but as a choreographer, you have control over your vision for the piece, the quality of movement, the choice of music, the lighting, set designs, video projections, props, costumes, dancers…. It can be rather overwhelming, but what I love about it is that there are limitless possibilities to explore your ideas. Collaboration is one of my favourite ways of creating and I love being surrounded by a team of talented artists each contributing their own unique flavour and shaping the work as we grow together on the journey of the piece.

Alice Topp, photo by Tim Richardson

How much of the year do you spend on tour with The Australian Ballet? 
We spend roughly five to six months a year on tour. Four months are spent in Sydney with yearly trips to Adelaide and Brisbane. There’s often an overseas tour also.

What is it like to tour with a professional Company?
It’s both exhausting and exhilarating!

Touring with a professional dance company means fulfilling a lifelong dream and having the opportunity to perform in some of the world’s most beautiful theatres. It means doing what I love on the national and world stage, working with the industry’s most amazing artists, choreographers, orchestras, production teams, technical staff and designers.

At The Australian Ballet we’re incredibly well looked after. Our medical team comes with us on tour and we have access to all dance maintenance equipment and facilities. We also have an amazing group of company managers sorting out our flights, accommodation and ticketing and a fantastic team of people organising our media commitments, sponsor related functions and anything in between!

As touring means performing and rehearsing six days a week, we often spend our Sunday sleeping and in recovery. As tiring as it is though, performing to a wide range of appreciative audiences means that it’s usually an incredibly rewarding experience.

Do you have any rituals or items you can’t travel without?
No rituals, but my tour mascot is usually my cat! Most tours he travels with me, otherwise he visits his ‘country retreat’ in Bendigo where my parents look after him.

What is the best part of touring?
I would say the change of scenery and the challenge. As we spend so much time interstate, Sydney has become rather a second home, so the familiarity, weather change and the shift into the Opera House is always welcomed. The best part of all touring though would have to be the international tours which are always a highlight for the sights, culture, history, hype and overall sensory experience.

What is the worst part of touring?
Packing and missing your own bed.

What advice would you give to fellow touring performers? 
For long tours – be mentally flexible. Don’t pack too much because you always come home with more and no-one likes airport excess luggage taxes. Try to limit everyday takeout, as convenient as it is when you’re exhausted, because good nutrition aids your recovery process and prevents you getting run-down and sick. Invest in a multivitamin. Never underestimate the value of a good night’s sleep. Try to maintain a balance. It’s important to maintain other interests to help keep perspective, keep yourself grounded and not let work become all-consuming. This will also mean that you have more creative energy to put back into your dancing. Pack a good book. Always have your iPod handy.

For overseas tours, make the most of every moment both inside and outside the theatre, because you never know when you’ll return and you don’t want to just see the inside of the auditorium.

What has been your favourite experience on tour (on stage or off)?
The most outstanding moment thus far would be the standing ovation we received in Paris at The Chatelet Theatre in 2008 in a joint tour with Bangarra Dance Theatre. The buzz was incredible!

Where would you most like to perform?
Palais Garnier, the Paris Opera.

Favourite roles danced? 
Wayne McGregor’s Dyad 1929 and Stanton Welch’s Divergence.

Role you would most like to perform?
Christopher Wheeldon’s After the Rain pas de deux.

What are you looking forward to in The Australian Ballet’s 50th Anniversary year? 
The Infinity program, which is a triple bill of works by Graeme Murphy, Stephen Page and Gideon Obarzanek.

By Grace Edwards

Creating a new ballet is never easy, but when that ballet is King Arthur and the Tales of Camelot, the pressure is on. Inspired by the popular novel, The Mists of Avalon, the Queensland Ballet’s latest work is the result of Artistic Director François Klaus’ ongoing fascination with the Arthurian legend— a passion he discovered whilst creating the lead role of King Arthur in John Neumeier’s King Arthur’s Saga during his time working with the Hamburg Ballet.  Klaus let Dance Informa’s Grace Edwards in on the preparations behind staging such an iconic story.

In this production, both choreography and poetic text are used to make the epic plot easier to follow. “Dance is very adept at showing emotions, so with that you can build quite a lot,” says Klaus. “The problem in dance, however, is that you cannot say, you know, ‘This man is my brother.’ Ultimately, the majority of people respond better to dance if they understand the context in which it happens, and that is the key to trying to make ballet mean something.”

A ballet means nothing, of course, without its dancers. Upcoming performances will feature Rachel Walsh as Queen Guinevere and Keian Langdon as King Arthur. The role of King Arthur’s half-sister, pivotal in Klaus’ version, will be performed by Claire Morehan. Responsible for delivering the text in his role as Merlin is former Expressions Dance Company member Dan Crestani, whose dramatic portrayals of characters such as Richard III brought him to Klaus’ attention.

Queensland Ballet Artistic Director Francois Klaus and Head of Wardrobe and Resident Designer Noelene Hill

Klaus admits to a fairly personal casting process, with strong ideas about who will perform which roles from the beginning. “Not that you should put the dancers in a box”, he warns. “But when you have your own company you tend to shape it over the years, to a large extent, to your taste. You know how you like people to dance and when you are the chief choreographer, you tend to associate characters with some of the people you already have in the company because you know that they fit those roles very well.”

Other aspects of the creative process, nonetheless, require teamwork. “We work quite closely together really,” reflects Klaus. “There’s David Walters, our lighting designer. David is extremely good at working out the reasons and motivations of the plot. I know he is technically there for the lighting design, but he is really good dramatically as well. And my wife Robyn – we make a trio that work really closely together right from the beginning. And then of course the designer for the set will be present, not as intensively, but of course he is the one who has to realise optically how the ballet is going to be presented.”

“Musically, I work quite closely with Greg Young, who is there to conduct, but at the same time we have a relatively small orchestra so he arranges the music for that ensemble. He’s a very good pianist as well. He even has to compose for some parts or elements of the ballets sometimes. So yes, that’s how you assemble the puzzle!”

With so many parts of the jigsaw to juggle, it becomes difficult to measure the time commitment involved in creating a ballet. “In the studio with the dancers I usually work quickly – it is easier for me because I’m more aware of what I’m doing. If I hesitate too much, I find it difficult to keep inspired. So on a good day I work quickly. But the preparation period before you enter the studio with dancers, is what takes a long time.”

“Like right now I’m reading material for something I’m going to do in a year and a half. But that’s not really like work, you just read books and have things in the back of your mind. It’s not intensive work, but it’s background and once you have that you can get more practical and see what you want to do with it.”

So how does one know when a ballet is complete? For Klaus, the answer is never.  “I will always modify my ballets. Some you are really happy with right away and you may hardly touch, though others you may feel you have to work at again and again as you feel you can do better. You know, sometimes a very small change can make quite a difference, because a lot of it has to do with timing and speed.”

King Arthur, Klaus admits, falls into the latter category. “I think it is one I have had to work on quite a lot,” he says. “I did an attempt a few years ago and I just feel that now, I have the company capable of doing it.” Soon enough, the Queensland Ballet will have the opportunity to prove it.

Queensland Ballet presents King Arthur and the Tales of Camelot at the Playhouse, QPAC, 15 – 29 October. For more information on the production, visit queenslandballet.com.au.
Bookings qtix 136 246 or qpac.com.au

NAB and The Australian Ballet are pleased to launch NAB Dance the Dream for 2011, a program designed to help young Australian dancers realise their potential through access to a unique training and learning opportunity.

Steven Heathcote and Lynette Wills, former principal artists with The Australian Ballet, will host five NAB Dance the Dream workshops for 250 dance students across the country.

In 2011, NAB Dance the Dream will visit Adelaide, Perth, Bendigo, Western Sydney and the Gold Coast and feature a series of master classes hosted by Steven and Lynette followed by a Question & Answer session for students to gain an insight into the life of a professional dancer.

NAB will also provide workshop participants the opportunity to win an exclusive dance experience weekend in Sydney to go behind the scenes and meet dancers from The Australian Ballet following a performance of Romeo & Juliet in December.

As an added incentive, dance schools with the highest number of NAB Dance the Dream entries in each State will win a $500 NAB Community Grant.

Lynette Wills, who has been involved in the program since 2008, said NAB Dance the Dream offered a great opportunity for Australia’s dance community.

“Over the last four years, NAB Dance the Dream has taken ballet off the stage and into many local communities. I am looking forward to working with my former dance partner Steven Heathcote and building on the program’s success in 2011,” said Lynette.

NAB has been a partner of The Australian Ballet for seven years and during this time has invested in various programs to develop local dance communities around Australia. Kevin Ramsdale, NAB’s General Manager Brand & Sponsorship, is delighted with the program’s achievements to date.

“We are extremely proud of our longstanding partnership with The Australian Ballet and our joint commitment to assisting young dancers to reach their potential through NAB Dance the Dream,” said Kevin. “The response to the competition is always overwhelmingly positive and we are pleased to make these types of opportunities a reality for Australia’s dance community,” he said.

Dance students aged between 9 to 16 years are eligible to enter. To enter, visit www.nab.com.au/ballet and in 50 words or less, describe what ‘NAB Dance the Dream’ means to you. Entries open on 18 July 2011 and close on 22 August 2011.

By Brian Nolan
GRD DIP, GRD CRT, BA, DIP, RAD TC.

In the world of classical ballet, our instrument is our physique, which is infinitely complicated, astonishingly diverse, extraordinarily functional, artistically imposing and at the very least – aesthetically pleasing. If we are lucky, work hard, are conscientious with our training and everything falls into place our instrument can then become our servant.

As dancers, we become very aware of what our body looks like. At each class or rehearsal we attend, we generally wear tight fitting clothes, dance enthusiastically in front of mirrors and are constantly comparing ourselves with others in the room. A dancer has to look at themselves for many hours in a day and/or accumulative in a week and as a result, we become very conscious of our shape.

Do I have to be short?

The origin of classical dance came from King Louis XIV, but the origin of the classical figure or body type is said to come from a young dancer by the name of Marie Camargo who in the eighteenth century became a prominent figure in the theatre. She was said to be light-footed, very artistic with an assured technique, and most notably shorter than all of the male dancers on the stage. As Camargo became famous, every aspiring female dancer wanted to perform in the same company as she. Before her debut on the stage, ballet dancers of that era were not conventionally small, but, due to her popularity, the new figure became mandatory to succeed in the world of ballet. Thus, the 5’ 5” (165 cm) dancer emerged and soon it was the standard for all for decades. Sadly, as girls reached 5’5” their dreams would be shattered at the realization that they would never be the next Camargo. The company, aware of her extraordinary ability and popularity soon refused any new dancers who were taller than its star performer. Luckily for the taller dancers of today, this height restriction is no longer adhered to by most companies.

So what is the ideal female ballet body today?

Most experts concur that your body’s proportions are critical to having the ideal physique for dance. Apart from the aesthetic consideration, a well-proportioned body should endure the stresses and strains of the workload required of it with greater ease than one in which there is some contradiction. In reviewing the physique, we are examining the dancer who is hoping to enter a training institute of higher learning at an elite level or is aspiring to be a professional.

In reality, the ideal physique for a female classical dancer is slim, with a long neck, a shortish to medium length torso, long legs with complimentary long arms and high insteps.

The height requirements of dancers are really designated by the ballet companies hiring. Most ballet company’s average height for a female is approximately 167cm. However, in Europe some companies require females to be no taller than the traditional 165cm, while others have a minimum height of 173cm. One company I know has their lead female principal dancer at a height of 184 cm!

An elite school will in general try to adhere to a standard body type, with the ideal physique for the female classical dancer generally shaped by the requirements of the ballet company attached to it or by companies relative to that region, area or country and/or simply by the height of the male dancers available.

It is important to recognize that in the professional arena a mature dancer’s physique does not necessarily have to be (and probably won’t be) the same as the physique of a student in training. What might be acceptable to a ballet company might not necessarily be acceptable to an elite or national school. Companies want talent and talent comes in all shapes and sizes. Few companies will turn down an exceptionally talented dancer just because their torso is a bit long or their legs are a bit short, they might not have the best feet, or they are too tall or a little short – if they are truly talented, they are seriously considered.

Do I need to be thin?

At an elite level, slim is better than thin. Genetics play the biggest role in determining one’s physical shape. The size and shape of your parents determines the outcome of the female form.  Puberty is the main contributor to the eventual physique of young girls. A girl can have a lovely physique at 11 or 12, go through puberty and sadly develop a less than ideal shape required of them to continue to the elite level. Some might simply have an odd shape until around 17 or so, and then mature into a perfectly acceptable dancer’s physique – so don’t give up if you are not the idyllic type! If you do not conform to the normal standards, remember that it is one thing to have the ideal physique, but unless its facility is qualitative, it is of little use – so in most cases talent prevails!

In general, during the intense training stage (12 -17 and especially 14 – 17) it is important for girls (regardless of the shape) to be ‘slight’, and the main reason for this is due to the opposite gender – the boys. At this level, pas de deux classes are imperative to the training of all classical dancers.  Lifting is an essential part of class work, however, it only takes seconds for a lift to go wrong and for young male dancers to injure their backs. If the males are not strong enough to fully support the weight they are lifting they will generally hyper-extend their backs and possible chronic injuries to the lumbar thoracic and middle thoracic areas of the back can occur.

Adam Bull and Amber Scott in Swan Lake. Photo Jim McFarlane

Pointe for girls is what pas de deux is for boys. Today, without good strong and aesthetically pleasing feet en pointe, girls have little chance of entering the pure classical arena. Boys on the other hand, need to be strong and physically capable of lifting girls with consummate ease and with little or no strain on their body during the execution. As males generally mature at a later stage than girls do, girls need to be ideally slim or light so the demands on the boys’ bodies during lifts aren’t too great. The girls (in general) also need to be shorter than the boys due to their increase in height en pointe.

Of course there will always be exceptions to this and some male dancers at 17 or 18 are fully developed and their bodies (provided they’ve had correct pas de deux training) are more than capable of lifting fuller bodied partners.

Any teacher who is not experienced in pas de deux and/or is not aware of the physical requirements of boys should not ‘experiment’ in lifting just because it might potentially look good.

Most companies will have a standardized physique from which they will try to be consistent. Corps de ballet members need to be very similar in height and shape, as with the traditional classical ballets, a company will have the corps appearing to be the same. There may be a variance in heights within the one company but in general they would still maintain a commonality with the group and henceforth a standard physique is required.

Even though the training physique ideally needs to conform to the standards as previously stated, the professional dancer really can come in all shape and sizes – short, tall, wide, narrow, buxom, large hips, or long torso. What is important at this level is their ability as dancers. The males at a professional level should all generally be strong enough to adhere to all the rigors required of lifting.

The Australian Ballet with Orchestra Victoria
Choreographer: Stephen Baynes

The State Theatre, Victorian Arts Centre
June 2011

By Tamara Searle

“He ne’er is crown’d
With immortality, who fears to follow
Where airy voices lead.”              
Keats

The Australian Ballet’s program Elegy is comprised of two meditative pieces, Requiem and Beyond Bach by Australian Ballet resident choreographer Stephen Baynes.  Both pieces pursue another-than-human world of spirit.  Requiem invokes voices from the afterlife and Beyond Bach explores the heavenward reach in pure classical form.   Baynes is in full control of the language of classical ballet; the illusion of effortlessness, the sublime lines, and dedication to musical scores.  It may at first seem strange that Australia has a master choreographer for classical ballet, until you consider that Baynes was a contemporary of Forsythe and Killian at Stuttgart Ballet early in his career.   

In Requiem Baynes explores through symbolism the impossibility of knowing more than our human condition. The piece takes its title from Faure’s Requiem which it is set to. The singers are integrated into the ballet by faintly lighting them on the outside of the set.  This is a lyrical and highly successful dramaturgical conceit, as the singers become the voices that the dancers can never quite see. Initially the audience are invited into a world of anonymous bodies. These bodies seek and turn restlessly. They are haunted by the voices they cannot see.   The figures gesture at life events and struggles. These events are framed by austere white walls, designed by Roberts and lit by Levings, which dissolve into blackness at the height of the proscenium. The performers are always seeking to know what is beyond these walls they are constrained within.  When not dancing they stand in tableaux with their heads cocked to listen to what goes on beyond the wall.  There are two pas de deux in which Kirsty Martin and Kevin Jackson, and Madeline Eastoe and Robert Curran fold into the music and each other in endless variations on the theme. Veteran of the ballet Marilyn Jones OBE performs the role of the omniscient mother, reminiscing on the lives of her children.  She could also be seen as a god figure as she intertwines and intervenes in the lives and movements of the dancers.

The maturity of Jones combined with the older principal dancers, the effervescent Eastoe, the solemn Curran and the supreme grace of Martin gave the Saturday night cast considerable gravitas. 

Beyond Bach is a reminiscence on the form of classical ballet, exploring the influence of Bach on the development of ballet in the courts of Louis XIV.  A lady in court attire sets the scene, gliding across the stage and disappearing enigmatically, before dancers in short tunics take off into athletic sequences of dance driven by the complexities of the Bach arrangements. Just as Bach and other art produced around the court of Louis XIV sought to represent the potential for transcendence through religion and the monarchy, each element of Beyond Bach draws our eyes and spirit upwards.  No more so than in the French court stage design by Carter. The candelabras lift up off the stage in the opening sequence, a huge gold staircase spirals up to the height of the stage and a floor to ceiling window at the rear all reinforce the motif of transcendence. It is a testament to Baynes that Beyond Bach is 15 years old. There are not many late 20^th century pieces of dance in repertoires by Australian choreographers. 

The program of Elegy had a notably shorter season, running for only a week, where a full-length narrative ballet may run for two or three weeks.  It is curious that programs of modern classical ballet such as these command less of an audience.  They are great works of art. 

Photo: Olivia Bell of the Australian Ballet in Beyond Bach. Photo: Branco Gaica

By Rebecca Martin.

Talk about opening a can of worms.  With the release of Jennifer Homans’ book Apollo’s Angels, which charts the history of ballet, has come a flurry of debate about the epilogue included at the end of the book.  In it, Homans suggests that ballet is either dead or dying.  Such a statement is sure to inspire a response from ballet lovers, dancers, and students alike whether that response is a wise nod of agreement or a furious rebuttal. 

“After years of trying to convince myself otherwise,” Ms. Homans writes, “I now feel sure that ballet is dying.”

The crux of Homans’ argument centres on the idea that pieces like George Balanchine’s Divertimento No. 15 have become trivial and no longer have the ability to move audiences.  While many works of art fail to survive the passage of time, in the instance of classical ballet and modern ballet pieces that have lasted for decades and are still being performed and enjoyed to this day, it is not the piece which has become trivial.  It is the audience’s exposure to newer works, greater technique and more impressive staging of productions that has changed the way we view the older works.   Choreographer, dancer, ballet master, and director Robert Kelly says, “to say ballet is dying is the same as saying ‘classical music is passe’ or ‘surrealism is dead’. It’s an art form with a wonderful heritage and a rich history”.  Indeed, much like popular songs or fashion statements that were a big hit upon release and are now a source of ridicule and are mostly forgotten, many ballet pieces will be lauded upon premiere and just as quickly dismissed from memory.  They will become dated and trite.  Not every production will become a classic, nor will every performance be memorable. 

Australian Ballet performs The Possibility Space by Nicolo Fonte. Photo Jeff Busby

The Australian Ballet’s Artistic Director David McAllister feels that ballet is alive and well. “There are so many companies around the world creating a myriad of new works that explore the ballet technique and use it in completely new and innovative ways. Productions of the 19th century ballet canon are being updated and presented using 21st century technology and techniques in ways that inject new life for today’s audiences. Young dancers are still joining ballet classes around the globe and dance is being seen by an ever-growing audience thanks to an online world of Facebook, blogs and Youtube.” 

Technology is enabling smaller projects to get off the ground, receive exposure and funding.  Where once ballet was seen as an activity for the upper class and entertainment for the elite, ballet companies are reaching out to younger audiences and moving with the times.  However, the high cost of seeing a major ballet company remains beyond the reach for many families, students and adults alike. 

Homans neglects to point her assessment of ballet’s vitality to the modern day productions that are wowing audiences, challenging dancers and standing up to repeat performances.  Granted, it is too early to tell whether many, if any, of these pieces will become classics and will ensure the longevity of the art form.   She dismisses contemporary works outright as “gymnastic or melodramatic excess” suggesting that only the tutu ballets of old have any place in the current climate.  Such an opinion sounds an awful lot like the same criticism that was thrown at early rock and roll or Allen Ginsberg’s revolutionary poem Howl.  Groundbreaking art will always have its critics and there will always be an element of adjustment as dance moves forward.  Best it does that than stays stagnant and fades into oblivion. 

Certainly, ballet is a structured art form and there can only be so many variations before it stops being ballet, while other forms of dance such as hip hop or jazz can take many different forms and remain true to its origins.  This isn’t a criticism, rather an observation.  Ballet’s structure allows it to remain consistent over time and won’t fall prey to disintegration.  Having said that, in order to keep new and younger audiences who are exposed to such a vast array of mediums for entertainment interested in ballet, it is essential that the art embraces technology and utilises its various forms to engage people.  As our attitudes change towards entertainment, so too must the entertainment itself evolve.  McAllister sees ballet continuing to “evolve and develop to reflect the environment that we live in. In each generation there are people who innovate and bring new ideas and new energy to ballet. Their works add to the canon and their masterpieces become the classics of the future. While it’s important to maintain and present the great works of the past that are the foundation of ballet, it is equally crucial to develop and nurture the choreographers of today to keep the evolution of our art form vital and alive!”

Julie Kent and Marcelo Gomes of American Ballet Theatre in Romeo and Juliet. Photo Rosalie O’Connor

Ballet companies are employing more fashion focused advertising with bright colours, and an edgy take on a classical tradition.  A couple of years ago, San Francisco Ballet had the image of two dancers kissing in the back of a convertible car on their promotional posters.  Many bars and stores put up the posters, which for them was the first dance poster they had ever displayed.  The Australian Ballet’s dancers can be frequently seen between the pages of fashion magazines, as well as sports and other publications.  The idea is to present ballet dancers as sexy, vital and modern, in contrast to the outdated image of them as stuffy, one dimensional and old fashioned. 

Despite this, ballet still has limitations in this modern climate. As Sarah Keough from the Washington Post writes, “money problems weigh on ballet like a stone around its neck: salaries, rent, costumes, toe shoes, insurance, musicians, storage and so on. Debt is a big factor in all the conservative programming out there.  But the main problem is this: ballet suffers from a serious lack of confidence that is only growing more and more paralyzing.”  She goes on to say, “there’s nothing more boring than safe, pretty art. Nothing feels less relevant. Ballet needs to think bigger. Yes, money is tight, but ballet here has gotten itself into trouble by aspiring to opera-house prestige without the more stable budgets of its European counterparts. To survive into the future, I think the average ballet company would do better to downsize, aim for excitement, stir the pot — and drop the full-length ballets, which are better left to the few larger, richer operations”.

Alexei Ratmansky rehearsing with New York City Ballet. Photo Paul Kolnik

It’s not all doom and gloom for ballet lovers, however.  With choreographers like Twyla Tharp, Christopher Wheeldon, and Alexei Ratmansky amongst others, pushing the boundaries of ballet and creating works that blend abstraction with classical lines, ballet remains a living, breathing art form.  A glaring omission from Homans’ assessment of modern ballet is American choreographer William Forsythe who turned ballet on its head at the end of the 20th century and challenged dancers technically and audiences intellectually.

The people are telling us that ballet is as essential and popular as ever.  McAllister states that audiences for The Australian Ballet are growing every year, with subscription rates the highest they’ve been since the early 1990s. 

 Landestheater Coburg Ballet Master and international dancer Griffin Doug suggests that the pulse of ballet is strong in Europe. “I see (ballet) as the only ‘high-art’ that can be relied upon to bring constant houses. With the exception of well known musicals, dance programmes are the normally safe bet for a theatre intendant. Houses may not be sold out every night but performance for performance over a season the dance nights sell more seats than other performances.  For McAllister, however, “it’s not just about seat numbers (but) more about giving audience members a whole ballet experience.”

As Doug points out, ballet has the important asset of being a universal language which allows a production to traverse the globe without the barriers of communication.  And as all dancers can attest, a ballet class can be taken in any language anywhere in the world with little to no confusion.  The language of dance is the same wherever you go.  “Of all the live performance genres, ballet is the most adaptable to change. Dance is easily performed in large and small house settings, also in impromptu and carefully rehearsed productions. Dance can be performed with full symphony accompaniment, but is also accepted by audiences with pre-recorded soundtracks. Far from being a dying art form or a museum art form, dance is alive and well. It is the most adaptable of art forms with the widest audience base.”

Ballet itself is the foundation for all other forms of dance.  A jazz dancer with classical technique is more often than not far superior to someone without ballet training, and the same can be said for musical theatre, cabaret, tap and even hip hop dancers.  With the surge in popularity for dance thanks to the plethora of television shows, movies, and film clips showcasing the broad appeal, diversity and skill of the art, ballet is not going anywhere in a hurry.

Top photo: Aurelie Dupont & Herve Moreau of the Paris Opera Ballet. Copyright Anne Deniau

By Deborah Searle.

After ten very successful years at the Australian Ballet, principal dancer Danielle Rowe has packed her bags and taken up the barre at Houston Ballet. A much loved performer, Danielle will be greatly missed in Australia, along with her partner Luke Ingham who has also joined the company. Both popular members of the Australian Ballet company for many years, Danielle and Luke are excited to take their talent to Texas.

Upon arriving in Houston, Dance Informa’s Deborah Searle chatted with Danielle about the transition and her plans for the future.

“It’s been a bit of whirlwind, but it’s going well and I’m settling in”, Danielle shared. “I’ve joined the company as Soloist, which is the equivalent of a Senior Artist in Australia. I’ve already had a day of rehearsal and it feels like I’ve been here forever because everyone’s so friendly and welcoming. I’ve had a good start”, she said excitedly.

Danielle takes class at Houston Ballet. Photo Jim Caldwell

Audiences in Houston can look forward to some stunning performances by Danielle who won a prestigious Helpmann Award last year for Best Female Dancer. With such an accomplished career in Australia, Danielle was up for a new challenge. “I was at a stage in my career where I just felt like I needed a bit of a change. There wasn’t a dramatic reason for leaving, I just felt like I needed to work in a fresh environment and get out of my comfort zone”, she explained.

And out of her comfort zone she is, in the American southwest. After traveling to the States to guest perform Danielle responded to an urge to relocate. “Both Luke and I were drawn to America. We both were able to guest with Morphoses, so I spent a bit of time in the US. I began to really appreciate and enjoy the American style of dancing and the way that everyone works”. So Danielle and Luke contacted Artistic Director of Houston Ballet, Stanton Welch (an Australian born dancer with strong ties to the Australian Ballet), and the rest is history. But with opportunities all over the States, why did Danielle and Luke choose Houston Ballet? “We had heard really wonderful things about Houston Ballet. They have a great reputation as being a hard working and really versatile group of dancers”, Danielle shared.

The dancing pair is blessed to be able to join a company together. The fact that Houston Ballet offered positions for both dancers was another factor in their decision to join the company. “We wanted to move to a company that we could both work in. We know how hard it can be for couples to both get a job in a company they like. It’s really wonderful for both of us to have been given this opportunity and it’s great to have that support. Moving to a different country is a bit daunting, but we’ve got each other and that makes it easier”, Danielle revealed.

With rehearsals already in full swing for Houston Ballet’s Marie season in February and Sleeping Beauty in March, the pair are already busy, which is keeping Danielle happy. “I am looking forward to dancing as much as I possibly can”, she said. “There will hopefully be more opportunities for me to dance and perform on a more regular basis here. Houston Ballet rehearse all day (even the senior dancers), and they do a variety of different roles, as opposed to just doing principal roles. That was part of my reason for coming to Houston Ballet – the opportunity to work really, really hard and dance consistently”, she explained.

Danielle rehearsing in Houston. Photo Jim Caldwell

But what roles would Danielle still like to perform, as she has danced so many ballets over her career. “I’d love to do Onegin and to dance Giselle. I’d also like to do Odette/Odile in the traditional Swan Lake”, she said. But Danielle isn’t just interested in the classics. “I’d love to work with many different new and exciting choreographers. I really like the workshopping process and being challenged and inspired by new choreographers.”

Now that Danielle is in the States she is keen to explore the vast country and the many opportunities that it presents. “I’d like the opportunity to guest with some different companies around America, if I’m able to and if I have time to with the Houston Ballet schedule”, she disclosed.

But will she miss her home country and the Australian Ballet company? “I’ve never known any other company. I’ve grown up with the same group of dancers and danced with the same dancers, teachers, coaches and directors for ten years. I’m going to miss the comfort and security that I’ve developed with the Australian Ballet over the ten years, and also the three years that I had at the Australian Ballet School. I will miss the intimacy that I have with the Australian Ballet family”, she expressed with a sigh.

A little home sick but excited, Danielle and Luke have a wonderful future ahead in Houston and have some advice for other dancers thinking of making a move abroad. “It’s not as scary as you think”, Danielle laughed. “I think the scariest part about moving overseas is making the initial decision and committing to that decision. I certainly thought it was a huge event to uproot and move overseas, but it’s exciting more than scary.”

Good Luck Danielle and Luke. No doubt Houston audiences will adore you!

Danielle Rowe & Robert Curran perform Christopher Wheeldon's After the Rain with the Australian Ballet. Photo David Kelly

Fun Facts

Favourite Role
The role that I hold closest to my heart is ‘Baroness von Rothbart’ from Graeme Murphy’s Swan Lake. It’s a character that I’ve had the opportunity to perform over a long period of time so I’ve been able to develop it. Each time I perform it it’s different and special and the ballet is wonderful. It’s a very fulfilling character to play.

Favourite Ballet
I really loved performing Christopher Wheeldon’s After the Rain. The final pas de deux it’s so beautiful in its simplicity and the music is heaven. It’s really special. I think that’s been one of my most special times on stage.

Pointe Shoe Padding
I am a bit weird -  I don’t actually wear anything! I don’t recommend it because you end up with horrible looking feet. As I was growing up I was advised to not wear anything in my pointe shoes, and being an impressionable student I did that and worked through the pain. Now I have really calloused and ugly feet. For the long term I’d recommend a bit of padding for younger dancers so they are able to wear sandals and not have people stare at their feet!

Touring Must Haves
Massage Ball – I have a massage ball that is my life saver. It gets out any niggly little pains.
Thera-Band - I think you can do so many exercise with just this one piece of equipment. It’s easy, you can role it up and it doesn’t weigh very much. It always helps to get me ready for class.

Studio Snack
I usually have a banana in between rehearsals to give me energy. I don’t really like them, but I eat them because I know how good they are for me!

Favourite Tutu
My favourite tutu would be the Ballet Imperial tutu. It’s a really hard ballet but the tutu has elegance. The tutu’s so regal that it makes the ballet feel a little easier. I got promoted to Principal when I was doing that role. It was just a really wonderful time and I have fun memories of that costume.

Hobbies
I love trawling through vintage stores, antiques stores and book shops and seeing what treasures I can find. I love going to the movies and reading. I love chilling out and having a cup of tea whilst listening to records.

See Danielle Rowe perform with Houston Ballet in Marie this February.

Houston Ballet – Marie
Inspired by the life of Marie Antoinette
February 24- March 6
Brown Theater, Wortham Theater Center, Houston
www.houstonballet.org

Top photo: James Braund