The world-renowned English National Ballet will tour to Australia for an exclusive season in Sydney at the new, The Concourse, Chatswood, from Friday June 8 to Sunday June 17, 2012.

Tickets are already selling fast as dancers and lovers of dance gather to see the company which hasn’t toured to Australia since 2001.

Under the leadership of Artistic Director, Wayne Eagling, this highly respected European company will bring its top soloists and principal artists, presenting a programme suited to young and old in the intimate 500 seat theatre at The Concourse.

The English National Ballet was established in the 1950s and has since emerged as one of the foremost touring companies in Europe. This internationally acclaimed classical ballet company tours both nationally and worldwide. Founded by two British ballet greats Alicia Markova and Anton Dolin, the English National Ballet grew out of a series of gala performances. Today, with 67 dancers from 20 different countries, they provide a group of dancers who enrich each repertoire they perform. The original 1950s aspiration for the Company, to take popular ballet to the widest geographical audience at a price they can afford, remains as valid today as when first expressed by the Company’s founders.

English National Ballet's Anais Chalendard and Vadim Muntagirov in Suite en Blanc

Recently the subject of the popular BBC reality series The Agony and the Ecstasy the English National Ballet is enjoying an international recognition unheard of in classical dance circles. And it is not only the public who are supporters of the English National Ballet. The prestigious company has enjoyed the patronage of Diana, Princess of Wales and currently HRH Prince Andrew, The Duke of York.

The Australian programme, accompanied by a live orchestra, will open with George Balanchine’s neo-classical masterpiece Apollo and close with Serge Lifar’s spectacular bravura piece, Suite en blanc. These two great classics will frame a selection of favourite pas de deux from Manon, Don Quixote or Black Swan, and Trois Gnossiennes, featuring the company’s stars. Set to an Erik Satie solo piano piece, contemporary choreographer Hans Van Manen’s Trois Gnossiennes, will showcase the great finesse, control and superb classical technique of the English National Ballet dancers.

Suite en blanc was described by its choreographer, Serge Lifar, as “a real parade of stars”. A plotless display of classical technique, with strict emphasis on the perfection of line, the ballet was created in 1943 to showcase the virtuosity and elegance of the Paris Opera Ballet. With its white costumes against an inky black setting, the ballet remains a stunning showcase of dance, as glittering and exhilarating as its first performance nearly seven decades ago.

Don’t miss this unique opportunity to see the English National Ballet. Tickets are now on sale at www.theconcourse.com.au/enb

Top photo: Dancer Anais Chalendard of English National Ballet in Apollo. Photo by Laurent Liotardo.

Published by Dance Informa dance magazine – everything dance in Australia – dance auditions, dance news, dance events and resources for dance teachers.

By Brian Nolan.

If there is one person who exemplifies a true Classical Diva of Dance then Audrey Nicholls is it. She hails from Townsville in north Queensland, but after training in Sydney and then furthering her training in London, our second diva made her home in Victoria.  (If you didn’t catch my interview with our first diva, Carole Oliver, click here)

In the world of RAD (Royal Academy of Dance) and in the performing arena Audrey Nicholls stands pointe shoes and tutus over the rest. She is renowned throughout Australasia and internationally for her contribution to the RAD and in 2010 was honoured by the board of trustees at the Academy headquarters in England with a Fellowship in recognition of her contribution and remarkable, dedicated service to the Academy.

Audrey Nicholls dances with Robert Pomie in the Pas de Deux from Don Quixote

With a career spanning 61 years, Audrey, along with Colin Peasley,  is one of the longest serving and dare I say one of the more ‘’mature’’ dancers still performing in Australia. As a valued guest artist of the Australian Ballet Company (where she has been guesting since 1992), Audrey is not only constantly performing character roles with them but still has roles created on her!

Audrey has had a very illustrious career and in her day she graced some of the world’s best stages. A soubrette, with a sensitive lyrical and artistic quality, coupled with assiduous attention to detail and a resounding technique, enabled Audrey to perform and portray a huge variety of roles.

Audrey commenced her career in 1950 where at the very young age of 16 she joined the Borovansky Ballet (now the Australian Ballet) as a member of the corps de ballet. In 1951, she won the inaugural Frances Scully Memorial Scholarship and travelled to London to further her studies. In 1952, she joined the Rambert Ballet as a soloist and in 1953 was promoted to a principal dancer. In 1955, she returned to Australia and rejoined the Borovansky Ballet as a senior soloist.  In 1958, the Ballet Guild of Victoria (Ballet Victoria) was her next stepping-stone with some outstanding principal roles especially in Giselle and Coppelia.

Audrey Nicholls performs 'Waltz' in Le Sylphides with the Ballet Rambert in London, 1954

A career in television from 1958 – 68 saw her immortalized on the small screen with both Channel 7 and Channel 2 (ABC). During this time Audrey commenced teaching the RAD Syllabus.

In 1973, Audrey Nicholls was appointed as a Graded Examiner of the Royal Academy of Dance. From 1982 to today, she has taught RAD teaching courses and classes throughout Australia. Audrey instigated the Victorian Grade Awards and was honoured when the awards were named after her this year.

Audrey is a truly remarkable lady, who is forever smiling. Her warmth and passion for the people around her and the art she loves is evident. When taking workshops or courses, teachers specifically ask for Audrey as they know that the students all come out of class beaming.

Audrey Nicholls FRAD ARAD

What influenced you to become a teacher?

I had been a professional dancer since the age of sixteen and continued until I was about 36. During this time at around 23, I was passionate about teaching ballet and wanted to give back to aspiring young students my love and experience in dance. Along with professional dancer Eve King, I began what was to become a long and rewarding journey of teaching ballet.

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

To give the students a pure classical technique and to inspire their love of music. When I hear music, I immediately have a physical reaction to move and express myself and to bring out the artistry of the dance step. I also wanted to offer knowledge of other influential teachers and use the expertise of Martin Rubinstein (Maestro), Lynn Golding, Jack Manual and Christine Howard. We were very privileged to be a part of their education.

Have you achieved these goals?

I do feel a sense of achievement and feel rewarded to have trained many students who have gone on to wonderful professional careers not only as classical dancers but also qualified examiners, teachers, actors and stage managers. I have also trained Genee gold medallist Holly Smart and bronze medallist Pamela Smith, as well as several soloists in the Australian Ballet and Royal Ballet Companies including Delia Harrington and James Newman. One former student of note is Christine Howard who is the Character teacher at the Australian Ballet School (30 years).

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

Being recognized by my peers and having the honour to be awarded the Fellowship of the Royal Academy of Dance (2011). Also the achievement of 40 years of collaboration with Eve King and our teaching together in our ballet school.

Where do you think ballet is headed in the next 10 years?

Supply & demand – we have the supply of many talented dancers, choreographers, designers, composers and of course teachers! Dancers today have the opportunity to receive excellent training with technical ability being pushed beyond their boundaries. Contemporary and classical demands the utmost from the dancer- today there is no limit to where and what will happen in the next 10 years.

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

Televised live broadcasts of performances reach thousands of people who might not normally have the opportunity to see a ballet. In addition, one of the biggest of all: YouTube

What is your favourite ballet?

I am a bit of a traditionalist, so I will say Giselle. I love the first act, the communicative story telling in the demi character style, told with drama and heartfelt emotion especially with Giselle’s acting in the ‘mad scene’.  Then the pure classicalism of Act 11, the choreography raises so many sentiments and reactions that enable the dancers to put their hearts on the line. It is a wonderful vehicle for the dancer.I grew up on Giselle, starting in the corps de ballet, then Pas de Six, Peasant Pas de Deux, Queen of the Willis and eventually the title role of Giselle.

Who is your favourite dancer?

There are three exquisite women and it is impossible for me to choose between them, they are: Natalia Makarova, Darcy Bussell and Natalia Osipova – for me they are the epitome of dance.

You are an RAD examiner. Why did you choose RAD and do you still examine?

My original teachers were Gwen Hardie and Ann Roberts FRAD, ARAD who both taught the RAD syllabi.  I found the syllabi structure and exam preparation beneficial and certainly challenging. Therefore, when I commenced teaching, the transition to RAD was a natural progression. Becoming an RAD examiner seemed to follow automatically.

I will always be grateful to Martin Rubinstein for his mentoring and guidance when I was becoming an examiner in those early days and to this day. I loved examining, meeting the different teachers and exchanging ideas. I enjoyed helping to sort out problems and addressing the needs of the country teachers where little access to examiners or experienced teachers was available. I have travelled internationally and throughout Australasia for 33 years as an examiner. As an examiner, we all were continually updated with education in dance, psychology, syllabus and new methods. It has been a very rewarding career and I continue as an RAD tutor on different faculties for courses, workshops for teachers and students, and as a Juror for RAD events.

How would you like to be remembered?

Fondly – I hope!  But also for my lifelong love of dance and my devotion to my husband David and my family.

Top photo: Audrey Nicholls in the Pas de Trios from Swan Lake – Ballet Rambert 1954.

Published by Dance Informa dance magazine – everything dance in Australia – dance auditions, dance news, dance events and resources for dance teachers.

A Reserve Double Passes are up for grabs!

NUTCRACKER ON ICE

The international ice dance sensation The Imperial Ice Stars make a triumphant return to Australia this winter with a dazzling new production of The Nutcracker on Ice.

Over the last seven years, The Imperial Ice Stars have performed to more than three million people across five continents, at some of the world’s most prestigious venues.

For their latest production, The Nutcracker on Ice, acclaimed Artistic Director Tony Mercer – the world’s leading creator of contemporary theatre-on-ice – has once again teamed with four-time figure skating World Champion and dual Olympic gold medallist Evgeny Platov, and dual World Champion Maxim Staviski to create choreography that further raises the bar, with ever more breathtaking high-speed leaps and throws, and awe-inspiring acrobatics, coupled with the most graceful and sublime ice dancing.

Sydney: Capitol Theatre – 6-10 June
Canberra: Canberra Theatre Centre – 13-17 June
Brisbane: Lyric Theatre, QPAC – 20-24 June
Adelaide: Adelaide Festival Centre – 18-22 July
Melbourne: The Arts Centre – 25-29 July
Perth: His Majesty’s Theatre – 2-12 August

www.imperialicestars.com

OPERA WARRIORS

Direct from the award-winning creative team behind the Opening Ceremony of the Beijing Olympics, Opera Warriors showcases the best of Chinese modern theatre arts in a show that tells a story of the Peking Opera through martial arts and modern dance. To celebrate the closing of the Year of Chinese Culture in Australia, Opera Warriors will premiere at the Opera Theatre, Sydney Opera House with four shows only from 14 to 16 June.

Opera Warriors is choreographed by Mr Xing Shimiao, and scripted by Ms Pik Wah Li (Lilian Lee) – one of Hong Kong’s most popular columnists, whose screenplay Farewell My Concubine won the Golden Palm at the Cannes Film Festival in 1993. Mr Sha Xiaolan, the Lighting Designer of the Opening and Closing Ceremonies of Beijing 2008 Olympics, will light the Opera House stage.

Leading Chinese dancer Mr Wang Di, who performed the painting scroll sequence in Beijing Olympics Opening Ceremony, and Mr Huang Doudou, China’s most famous male dancing artist, who performed Chinese Kung-Fu in the Closing Ceremony of 2004 Greece Olympic Games, will lead the troupe of 60 dancers.

Brought to Sydney by the Shanxi Huajin Dance Art Troupe, Opera Warriors is an exquisite visual feast that combines an elaborate set, beautiful costumes, dynamic lighting and original music with a story that encompasses the dramas of life.

www.operawarriors.com.au

Win a Double Pass to:
Nutcracker On Ice at Sydney’s Capitol Theatre or Opera Warriors at Sydney Opera House!

Just email info@danceinforma.com with subject: “WIN TICKETS” and tell us What show you’d like to win tickets to and why. Dance Informa’s Editors will pick the best responses to win.
* Please include your full name, postal address and date of birth.

Competition open until May 24.

Published by Dance Informa dance magazine – everything dance in Australia – dance auditions, dance news, dance events and resources for dance teachers.

By Katherine Moore.

Summertime in the Northern Hemisphere is rarely a time of rest for aspiring dancers. Instead of lounging by the pool, young dance students often opt to spend weeks, possibly months, at intensives and workshops hosted by top dance companies, where students use the long, sweaty days of summer to learn and push themselves toward bettering their craft. These intensives attract students from across the country, and in some cases, from across the globe. Dancers from Australia even venture overseas to escape the winter blues in search of an exciting dance experience.

World Dance Movement is an international workshop event that takes place in Castellena Grotte, Italy, where students have the opportunity to invest in their dance future and lounge by the beaches of the Adriatic Sea. As an institution dedicated to uniting cultures through dance, WDM brings students from 25 countries to study with internationally-renowned dance teachers and choreographers.

Founded on the idea of creating a global forum where dancers can grow both artistically and culturally, WDM’s overall mission is “to become a leader in the international dance scene – a respected source for bridging cultures through dance,” according to Michele Assaf, founder and director of WDM.

Dana Foglia's Hip Hop Class at World Dance Movement

For three weeks, from July 8-29, students from the age of 6 though 17+ will study a myriad of dance techniques and styles while residing in the beautiful Puglia region of Italy. The curriculum includes standard offerings such as jazz, ballet, and contemporary, but also more unique topics such as acrobatics, Yamuna Ball Rolling, and the opportunity to participate in workshops/seminars about auditioning and career development.

Assaf is especially excited that Cirque du Soleil will be joining them as a workshop partner this year. “WDM dancers will have an opportunity of a lifetime,” Assaf said. “The Cirque du Soleil senior artistic talent scout will hold dance workshops and seminars, as well as visit select WDM classes in search of future Cirque du Soleil artists.”

With in-numerous summer intensives to choose from, what makes WDM a distinctive option for aspiring dancers is the versatility of so many different teachers and choreographers from around the globe at one event.  The faculty roster includes the likes of Desmond Richardson, Dana Foglia, Jason Parsons, Igal Perry, and many, many more.

WDM strives to keep class sizes small, which gives students the rare opportunity to interact intimately with international choreographers and their fellow students, many of whom will be speaking different languages.

David Marquez, a Broadway choreographer, director, and WDM faculty-member, mentioned the importance of gaining this international perspective as a young dancer. “Exposure of any kind is helpful, in anything, specifically with dance. Dance is such a universal thing. It comes from everywhere and belongs to everyone. Therefore, those who are doing it in America differ from those who do it in Istanbul, or Lisbon, or Sydney. And creativity is like perspective, everyone has one, and everyone’s is different. “

David Marquez

The opportunity to gain new perspectives on dance is furthered at the conclusion of each week of the event, when families and teachers gather to watch students perform what they have learned in an outdoor gala.

WDM gives over $65,000 USD in international dance scholarships to ease students’ and parents’ financial burden of taking part in this artistically and culturally-immersive opportunity.

Past students have felt that WDM’s unique location, international faculty, and overarching goal of bridging cultural gaps through dance, creates a summer filled with inspiration.

“On top of being in one of the most beautiful places in the world and being surrounded by amazing people from all different countries, you are taking classes from a diversity of the most talented, giving teachers. I made so many close new friends who now seem like family,” one student said.

Similarly, Marquez, who described himself as “the musical theatre, Broadway expert in the WDM family,” enjoys teaching his passion just as much as he relishes the close time spent with students, parents, and teachers from around the world.

He said, “For a week or three you are doing what you love, in a beautiful setting, in the company of other people who love doing the same thing you do, while learning about different cultures, making new friends, speaking new languages, and sharing an experience that is un-duplicated anywhere in the world.”

Top photo: Students take class with Desmond Richardson at World Dance Movement Italy. All photos courtesy of World Dance Movement.

Published by Dance Informa dance magazine – everything dance in Australia – dance auditions, dance news, dance events and resources for dance teachers.

Direct from New York, one of the world’s premier classical Chinese dance companies is proud to present an all new production of Shen Yun. Performed to a live orchestra, Shen Yun dance spectacular highlights a revival of 5,000 years of civilisation from April 27 to May 6 at Sydney’s Capitol Theatre.  The show just previously toured to Auckland, Wellington, Canberra and Melbourne.

For 5000 years, China amassed a diverse legacy of heroes, myths and virtues that still resonate in the present. Today, Shen Yun Performing Arts is reviving the world’s most ancient heritage in full colour through dance and music. Shen Yun captures the spirit and grandeur of a culture long lost. The show moves quickly from one story, region and dynasty to the next. Down in the valley, ladies of the Yi ethnic group dance in rainbow skirts by the river. In the heavens, celestial fairies trail silken sleeves through the clouds. Resounding drums awaken the dusty plateaus of the Middle Kingdom.

After watching last year’s performance, Academy Award-winning actress Cate Blanchett said, “It was an extraordinary experience. The level of skill, but also the power of the archetypes and the narratives were startling. And of course it was exquisitely beautiful.”

The Shen Yun Performing Arts presentation of Shen Yun features gorgeous digital backdrops that extend across the full stage, transporting the audience to distant lands and eras. An orchestra, combining Western and Chinese instruments like no other, accompanies the dancers with stirring scores. Dancers fly across the stage in an array of flips, spins, jumps and aerials. The energy of classical Chinese dance is contagious.

The Shen Yun lineup of dance and music has been performed to acclaim in more than 100 cities worldwide. At the core of their performances is classical Chinese dance, but China’s numerous ethnic and folk dance styles round out the evening along with masterful vocalists and musicians.

Experience a blend of energy and grace with Shen Yun Performing Arts at the Capitol Theatre, 13 Campbell Street, Haymarket, Sydney from Friday 27th April to Sunday 6th May. For tickets and information call 1300 723 038 or visit www.ShenYun2012.org.

Published by Dance Informa dance magazine – everything dance in Australia – dance auditions, dance news, dance events and resources for dance teachers.

Theatreworks, Melbourne
April 12 2012

By Paul Ransom.

There are many ways to review a show but most involve name dropping, encapsulation and a measure of what we might call analysis. Ultimately however, reviews are simply one person’s considered and (hopefully) informed opinion. This is no different. But for me at least Collide was.

Not that the two short works contained under that umbrella were ground-breaking in any way. Indeed, a dance cynic may well dismiss the programme as nothing more than standard issue, over wrought contemporary writhing. However, to do so would miss the point entirely.

Choreographer/director Paul Malek once told me that he was “a very intense person” and that shines through with Collide. Both these works (Freya List’s stunning debut Half Full and Malek’s passionate and conceptual Evolve) burn with introspective drama. Both are like a brooding Bronte sister novel; melancholy, dark, existential. Even a touch erotic.

Stepping away from the details though, Collide reminds us why anyone bothers to dance at all, for right there in front of us the dancers give us their blood by diving headlong into the moment and immersing themselves. Perhaps it is a kind of self-absorption – but it’s also utterly absorbing. And in the pews, everyone imagines themselves dancing.

Sometimes, the astonishing alchemy of music and movement transcends technique, and makes critique redundant. For this reviewer – on that night, in that theatre – the collision was pure elevating, emotional magic. By daring to feel, the dancers allowed us to do the same. By having the gall to dream up such intense (and gloriously minimal) vignettes, Paul Malek and the driven young people he works with remind us that everyone is a dancer.

Well, that’s enough of my middle age gushing. Go see the show … or at the very least keep an eye out for their next one.

Published by Dance Informa dance magazine – everything dance in Australia – dance auditions, dance news, dance events, dance reviews and resources for dance teachers.

Playhouse, Queensland Performing Arts Centre
April 4 2012

By Marc Clayton.

Easter theatre going audiences of all ages were thoroughly entertained by The Queensland Ballet’s Alice In Wonderland. The ballet follows the classic story of Alice and her adventures in Wonderland, when she chases the White Rabbit down its hole.

Artistic Director Francois Klaus created a ballet geared towards children, as were the original stories by Lewis Carroll. The music chosen was very unusual and quirky with scores form Alexander’s Ragtime Band (Irving Berlin) through to Flight of the Bumble-Bee (Nicolai Rimsky-Korsakov).

From the first appearance of Wonderland and the White Rabbit, played by Tamara Hanton, we saw a modern take on this traditional classic. The White Rabbit was scurrying back and forth across the stage in bright red sneakers and playfully rode a skateboard. Hanton made the role look effortless with her high energy performance throughout the show – she was just like the Energizer Bunny! The Cook (Keian Langdon) and Duchess (Katherine Rooke) performed well together. Their pas de deux was fun with characterization oozing out of both performers. Blair Wood as The Mad Hatter was a very bold performer. His acting, energy, and dance kept drawing my eye every time he was on stage. The enthusiasm of the March Hare (Nathan Scicluna) and the well-executed characterization of the Dormouse (Gemma Pearce) also pleased the audience.

Gareth Belling and Iona Marques in Queensland Ballet's Alice in Wonderland. Photo by Ken Sparrow

The role of Alice was danced by three of Queensland Ballet’s Junior Extension Program students; Caity Armstrong, Emma Langfield and Bianca Scudamore. At this performance it was Langfield’s day to shine and that she did. It is amazing that a child was able to keep up with and in some cases dance rings around some of the seasoned professionals. Langfield was a very professional young woman with great promise, lots of energy and endurance. As Alice she rarely left the stage during the performance.

One of the standout dancers was Yu Hui as the Caterpillar. This fun and captivating role required a lot, from working with many arms and working with a mushroom prop, to becoming a breathtaking butterfly with huge wings, all the while interacting with Alice.

The mischievous dancing twins Tweedledum & Tweedledee, played by Robert McMillan and Rian Thompson, were my favourite characters in the show with both dancers performing to their fullest potential. Their wit, characterisation and tricks, including a double tour while wearing a fat suit, were something to see and performing with Alice made it an interesting trio. Bravo for your wonderful performance!

Humpty Dumpty and Walrus were both entertaining characters perfected by guest artist Joseph Stewart. Stewart’s acting and dance really took on the actions and imitations of what you would believe of these characters.

Designed by Richard Jeziorny the costumes were all bright, colourful and creative with the Caterpillar to Butterfly transformations and the Walrus as definite standouts.

There was talking included in the program, which was slightly off putting. I believe that dancers can portray their characters to the audience through dancing, action and movements, with no need to speak lines such as “White Rabbit, White Rabbit” or “Off with her head”. This really did not add to the production at all but took our focus off the dance.

Queensland Ballet’s Alice In Wonderland is a fun, delightful performance and is one for all the family to enjoy.

Top photo: Queensland Ballet’s Alice in Wonderland. Tamara Hanton and dancers.  Photo Ken Sparrow

Published by Dance Informa dance magazine – everything dance in Australia – dance auditions, dance news, dance events, dance reviews and resources for dance teachers.

By Rebecca Martin.

Australian dancer Stephanie Williams has gone from strength to strength since leaving The Australian Ballet in 2011 and joining Het Nationale Ballet in Amsterdam for six months before settling into her new home of New York where she is one of American Ballet Theatre’s (ABT) newest recruits.

Since commencing her ballet training at the age of 8 with the Marie Walton-Mahon Dance Academy in Newcastle, Stephanie has been a dancer to watch.  Moving to Melbourne as a teenager to train at The Australian Ballet School, she received the Gold Medal at the 10th Asian Pacific International Ballet Competition in Tokyo, graduated at the top of her class, and performed the dual role of Odette/Odile in Swan Lake.  In 2007, Stephanie joined The Australian Ballet as a Corps de Ballet member before being promoted to Coryphee the following year.  While with The Australian Ballet, Stephanie performed many Soloist and Principal roles and was a guest artist with Christopher Wheeldon’s Morphoses, again performing Principal roles.  2009 saw Stephanie work with choreographer Wayne McGregor on his new piece Dyad 1929, and become the youngest ever winner of The Australian Telstra Ballet Dancer of the Year Award and People’s Choice Award.

In the lead up to the world premiere of Ratmansky’s Firebird in California, Stephanie found time to speak with Dance Informa about life since leaving Australia…

You’ve done quite a bit of travelling lately, having gone from The Australian Ballet to Het Nationale Ballet in Europe, and now with American Ballet Theatre in New York. How are you managing so far away from friends and family?

The past year has been a whirlwind of travel, exploration and life change. At times it’s been wonderful and exciting and at other times scary and daunting, but all part of an incredible journey that has given me a fresh perspective on life and dance. The beautiful people that have come into my life have had a huge impact on me and they have helped me with the major changes that come with moving to the other side of the world. I have to say I am extraordinarily fortunate to have the most beautiful, supportive family whose love and belief in me has never wavered, even when I’ve felt lost at times. And although I miss them terribly, I am in an extremely positive, motivating, passionate and inspiring environment every day at ABT. This fills me with a sense of happiness and allows me artistic fulfillment, of which I couldn’t have ever imagined and appreciate so much. And thank goodness for Skype!!

Stephanie Williams of American Ballet Theatre. Photo James Hooper

Any interesting cultural differences you’ve come across?

New York is incredible in that I feel like it’s so open to different styles and foods and that’s why it’s so exciting because there is always something new and interesting to try and seek out. I’m not a good sleeper so the fact that I live in ‘The city that never sleeps’ works perfectly for me!
Amsterdam is like no other place, with canals and bikes everywhere you look. I used to love seeing an entire family on a bicycle – the mum riding with the two kids on the front, baby in arms, perhaps an umbrella and mobile phone in hand and some groceries hanging off the handle for good measure. All executed without a care in the world! And then parked amongst another hundred bicycles so the street looks like a twisted metal junkyard! What a truly amazing sight and the epitome of Amsterdam.

Do you notice differences in European and American dancers compared with Australians?

There are definitely differences in dancers from Europe and America compared to Australia and I think a lot of it comes down to training and cultural differences. But what I think is amazing about dance is that it is universal. All around the world there are inspiring artists expressing themselves through movement and to me I feel that it is such a special, beautiful way to share one’s emotions. No matter your training, background or where you’re from, each individual has his or her own unique way of expressing that through dance. That is incredible.

Did you have trouble securing a Visa to work in the US?

I was actually very lucky with securing my Visa. ABT helped by petitioning on my behalf and they required a lot of paperwork from my time dancing with Het Nationale Ballet, Australian Ballet and Morphoses The Wheeldon Company, so my mum was an absolute hero and compiled everything and sent it to ABT. Once my petition was approved I secured my Visa. It has a name which I love. Apparently I am an “Alien with Extraordinary Talents”! I then just had to go to the US Consulate in Amsterdam, but was very lucky with how smoothly it all came together.

Is living in New York and dancing in one of the world’s best companies a dream come true?

I have to admit I do pinch myself most days. I have found a happiness and an appreciation for what I am fortunate enough to do every day. Living in New York is incredible. It is a city to get totally lost in, to explore and to dream. American Ballet Theatre is a very special organisation and to be a part of it is very humbling and inspiring. But over the course of the last 15 months I have grown up a lot (as stereotypical as that sounds). I have found such beauty in people, places, dance and life and to be able to recognise and appreciate it. That, to me, is the dream I have journeyed to.

What shows do you have coming up with ABT?

At the moment I am in Costa Mesa preparing for our triple bill which consists of Merce Cunninghams’ Duets, Christopher Wheeldons’ 13 Diversions and the world premiere of Ratmanskys’ new Firebird. I will be dancing in 13 Diversions and Firebird which I am really excited about! Being involved in the creation of Firebird has been incredible and inspiring each and every day. Working with Ratmansky and seeing this ballet come together has been amazing and I’m so excited about the premiere this week!

Will Australian audiences see you on stage at home in the future?

I really hope I can come and dance in Australia sooner rather than later, so I will definitely be looking at how to make that happen.

Top photo: Stephanie Williams dances in La Bayadère with American Ballet Theatre. Photo Gene Schiavone.

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

With landmark locations and the most spectacular dance fusion of Latin and street dance ever seen, the sequel to the global smash hit StreetDance is bigger, better, bolder and back ..in 3D.

To beat the world’s best dance crew, street dancer Ash (Falk Hentshel), with new friend  Eddie (George Sampson), sets off to gather the greatest street dancers from around Europe, falling in love with beautiful salsa dancer Eva (Sofia Boutella) in Paris.

Only at the movies April 19!

Win 1 of 10 Double Passes!
Just email info@danceinforma.com with subject: “Streetdance 3D” and tell us Why You Love to Dance.
Dance Informa’s Editors will pick the ten best responses to win.
Please include your full name, date of birth and postcode.

Competition is open until April 12.

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

La Scala dancer fired after speaking out about anorexia.

By Rebecca Martin.

As a ballet dancer, the pressure is always on.  Get your legs up, turn more, jump higher, be thinner, be stronger, turn out, rehearse harder.  We look at ourselves in full length mirrors in the studio wearing next to nothing and criticise every arm, leg, foot, and miniscule bulge.  For dancers, there is no such thing as perfection, so the quest is endless.  Add to that the pressure of teachers and directors and the desire to get a certain part or role.

It’s no surprise then, that young dancers – particularly students – are susceptible to eating disorders.  They often think that if they are thinner, they will be better or more successful.  If they are thinner, they will get cast in the lead role.  If they are thinner, no one will notice their bad feet or their height.  Female dancers need to look a certain way and maintain a comparatively lower body weight than non-dancers, not only for the aesthetic of the art form, but for the safety of the male dancers who have to partner them.

However, dancers need to eat.  With punishing rehearsal schedules and endless shows, if they don’t eat, they won’t be strong enough to perform at their peak.  Dancers certainly need to monitor what they eat, but mainly for overall health and peak performance.  It’s like the old adage of putting fuel in the car.  If you don’t put fuel in, the car won’t start.  If you put the wrong fuel in, performance will be sub-par.

Ballerina Mariafrancesca Garritano

So, unhealthy thought patterns about weight and eating is not unexpected and definitely not uncommon in the dance world.  Teachers need to foster healthy body image and eating habits so that students can develop into well adjusted dancers.  Unfortunately, this isn’t always the case.  During my time at an Australian full time ballet school, some of the girls in my class were told on a Friday to lose weight by Monday, “whatever it takes”.  Drugs and starvation were advocated in these cases, with another student being told to exist on a diet of broccoli and steamed fish in the lead up to a performance so she looked good in a unitard.

This unhealthy weight obsession has been highlighted over the past few months by Mariafrancesca Garritano, a ballet dancer with the famous La Scala in Italy.  Mariafrancesca was fired from the company after repeatedly speaking out about what she labelled an “anorexia epidemic” within La Scala.  Garritano first raised the issue of the eating disorder in a book called The Truth, Please, About Ballet that was released in January 2010, followed closely by media interviews, in which she said her weight dropped to 43 kilograms as a teenager after teachers called her ”mozzarella” and ”Chinese dumpling” in front of other students. Both the theatre and Mariafrancesca’s former colleagues have denied all claims.  Dance Informa spoke to Mariafrancesca after her sacking to discuss the issue of eating disorders amongst dancers…

What inspired you to speak out about the problem of eating disorders at La Scala?
I talked about eating disorders, both within and outside the dancing world. By sharing the experiences of my own illness during my time at La Scala Ballet School, as well as the similar experiences of some of my classmates, I have reinforced that eating disorders are a real problem that affects people everywhere, including here in La Scala. My sole objective was to raise awareness about eating disorders, in order to help young people learn how to spot pitfalls and how to heal.

You say 1 in 5 dancers have anorexia. Is this problem worse than before or has it always been this bad?
I spoke about my personal experience, 16 years ago – but I did my research and discovered that eating disorders are constantly rising in our society, both here in Italy and abroad. If we don’t encourage people to talk about this issue, we’ll never be able to know how serious this problem is.

Ballerina Mariafrancesca Garritano

Do you believe the problem comes from the ballet schools where the dancers train or is it the pressure of being in a company that makes them anorexic?
I believe teenagers are vulnerable, and to keep them in an isolated environment where they’re exposed to inappropriate language runs the risk of aggravating a predisposition to eating disorders. Those in a position of responsibility must be trained to behave in a way that protects young people from eating disorders.

Why do you think your fellow dancers have not supported you regarding your allegations?
I heard they were offended by my statements – this is a shame, as it wasn’t my intention to offend, but to raise awareness about a problem.

La Scala had hinted that if you continued to speak about the topic, you would be fired. Did this worry you? Was getting the message out more important than your contract?
There is much suffering behind eating disorders and I would have never thought that I’d be ostracised for talking about them. My life, other people lives, are too important for me not to fight this battle. I regret that I had to lose this much, but my motivation came from the bottom of my heart.

Do you intend to continue dancing?
Yes, I really hope so!

What do you think needs to be done to address the problem of eating disorders in ballet schools and companies?
There’s a need for experienced professionals – diet experts, psychologists, and so on – to follow both students and teachers. A full staff backed by appropriate resources is a good start for any school or company.

Occasionally the enthusiasm for dancing is such that dancers neglect their quality of life. For instance they may skip meals due to tight rehearsal schedules, and eventually skipping meals becomes the norm. Dancers should be trained and monitored in this respect – many already know how to look after themselves, but many others don’t. I hope things can get better for every one of us.

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