By Rebecca Martin.

From a small town eisteddfod to the international Prix de Lausanne, there is a ballet competition for every age and every level of dancer. Whether you’re a young ballet student, in full-time training, or are a seasoned professional, the benefits of ballet competitions are numerous. However, there are some drawbacks, and the ongoing question of whether ballet should even be competitive. If you’re weighing whether or not to enter the world of ballet competitions, or are already a regular on the competition scene, Dance Informa has put together a guide to ballet competitions to help you navigate the tutus, tights, tears and trophies.

For younger dancers, competitions expose them to the fun of stage lights, costumes, make-up and prizes. For parents, it can mean long car rides, tantrums and endless sewing of sequins. Yet the pros far outweigh the cons, and the skills and discipline learned through competing can be carried on to other aspects of the dancer’s life, making them a more focussed and mature adult. Personally, some of the fondest memories of my childhood involve ballet competitions. I formed great friendships, developed an affinity for the smell of backstage, learned to be organised and to perform even when nervous. Importantly, I learned the spirit of sportsmanship. It wasn’t about winning, it was about performing on stage in front of an audience, having fun and being friendly with fellow competitors.

If you’ve ever seen an episode of the television show Dance Moms, you will be forgiven for thinking that competitions are cut throat events that involve screaming teachers and complaining mothers. While that may happen from time to time, it’s important to find a ballet teacher who is encouraging and selects students for competition who are able to handle the pressure and are up to standard. Competitions are not the be all and end all of ballet training. If a teacher is putting too much emphasis on competition and neglecting the technique and enjoyment aspects, then consider trying other ballet schools.

For older dance students, ballet competitions can mean scholarships to prestigious schools, prize money or even job prospects. While bringing home a medal or wad of cash is fantastic, the greatest benefit of competing can be the connections dancers make to ballet companies and their peers. Competitions are reshaping the way dancers audition for companies. Rather than attending multiple auditions at what is often a great financial expense, major ballet competitions are used by ballet company directors to source new recruits. Directors can see the dancers both in class and on stage, something they cannot do in a regular studio audition. USA’s International Ballet Competition (IBC) is basically an audition for attending company and school directors. According to Australia’s Stanton Welch, who is currently Houston Ballet’s Artistic Director, competitions augment the audition process and are a great way for directors to shop for talent.

Aaron Kok and Kelsey Stokes, winners of the 2012 Sydney Eisteddfod McDonald’s Ballet Scholarships.

The Prix de Lausanne, one of the world’s greatest ballet competitions for pre-professional dancers now schedules networking into the program. An afternoon is set aside for schools to set up booths to talk with potential new students, so dancers don’t have to be a prize winner to be awarded a scholarship or offered a place in a training programme.

For dance students of any age, it is important to keep expectations realistic. Judging is subjective, and things can go wrong on stage. No matter how much dancers rehearse, they still may fall out of a pirouette or fluff their balance in arabesque, and no matter how well they perform, they still may be beaten at judging time. It is important to value the quality of the learning experience and the performance itself over the number of medals or prizes won. Students can return to class after competitions with inflated egos after winning or become overanxious about their dancing if they aren’t as successful as they hoped. Some dancers receive scholarships and job offers after being eliminated from competitions, which is far more beneficial in the long run than a medallion or prize money. Both dance students and parents, as well as teachers, need to keep things in perspective and not focus on a gold medal.

For dancers in a ballet company, their career is going to consist of constant auditions, so the practise early on is extremely beneficial. Every time a visiting choreographer comes in to watch company class and cast for their next work, they will be auditioning for them. The competition doesn’t end once a dancer gets a contract with a company.

Most local competitions allow entry through an application form. Some may request a photo or video. The bigger competitions will require dancers to attend an audition class or series of elimination rounds, and international competitions will first need to see an audition video.

DO:

• Speak to your ballet teacher about local competitions and check Dance Informa’s listings for upcoming opportunities.
• Do your research. Visit the website of the competition and carefully read the entry form and guidelines.
• Make sure you are eligible. There are often age restrictions and sometimes even syllabus restrictions.
• Pick a routine or variation that compliments your abilities. Don’t do something that is too difficult for you.  It’s better to do a simple routine well than fumble through a tricky number.
• Make the most of every experience. Listen to the judges and teachers and apply their feedback.
• Enjoy the experience! You’re on stage in front of a supportive audience.
• Talk to as many people as possible.
• Have a make-up kit that you take with you to every competition. Include needle and thread, resin, hairspray, hair pins and spare tights.
• Be prepared! Rehearse, practise in your costume, test out the stage before you go on, get plenty of rest, and fuel your body.
• Have a back up copy of your music.
• Remember that people are not only watching your dancing, but the way you behave. Be professional, attentive and courteous.

DON’T

• Give up!  The more competitions you do, the more confident you will become.
• Let your nerves get the better of you. What is the worst that can happen?
• Be negative or critical of others.
• Put anything extra on your application form or audition DVD. Follow the guidelines.

Remember that the process is the prize. Here is a listing of various ballet competitions around the world:

-  www.sydneyeisteddfod.com.au

-  www.rad.org.uk

-  www.prixdelausanne.org

-   www.ballet.org.au

-   www.jjgp.jp

-   www.yagp.org

-   www.usaibc.com

-   http://moscowballetcompetition.com

-   www.bda.edu.cn

-   www.theamericandancecompetition.com

-   www.concorsointernazionaledanza.it

-   www.wbcorlando.com

-   www.danceuponadream.com

Photo (top): Under 12 dancers from The Dance Spot perform Tchaikovsky’s Serenade for Strings at McDonald’s Sydney Eisteddfod. Photo courtesy of Sydney Eisteddfod.

By Grace Edwards.

‘Success is sweeter and sweeter if long delayed’ is a saying that will find no argument from 18 year-old Sydney native and new Houston Ballet apprentice, Joel Woellner. Though he chose not to compete the first time he qualified for the semi-finals, Woeller’s patience has been ultimately vindicated after winning two prizes at this year’s Prix de Lausanne.

Over 250 hopefuls aged between 15 and 18 years old submitted DVDs to this year’s Prix, from which 20 competitors made it to the final round. Woellner was the only student from an American ballet school [Houston Ballet Ben Stevenson Academy] to win a prize. Ranking sixth overall out of 78 international competitors, he was awarded not only a scholarship but the competition’s contemporary prize.

Congratulations on your success Joel! How would you describe what you were feeling when you heard that that you had won two prizes?

Surprised, yet a huge amount of satisfaction! Having had such a vigorous training schedule, putting so much energy into Prix, then having it rewarded, is one of the best things I have felt. But even if I hadn’t placed, just being on stage at the finals of Prix de Lausanne is a moment in my life that I’ll never forget.

How did you prepare for the Prix?

The first time I was accepted [for the 2012 competition], Houston Ballet decided to hold me back for a year, so I didn’t go. This time though, I started my training for the Prix as soon as I heard that I was accepted. My teachers had agreed on my variation, so I went to YouTube to learn the choreography and to draw inspiration from the videos of professional dancers who had done it in the past. Once I’d learnt the steps to the variation I began visualising myself in costume on the stage of Prix de Lausanne.

I was then given rehearsal time with one of the Houston Ballet teachers, Andrew Murphy. Together we set the steps to music and slowly began to correct the variation. A few weeks later we were running the variation through and working very hard on perfecting every step. Mr. Murphy is well-known for running variations multiple times to build stamina and I was not an exception. After each rehearsal my legs were on fire, my lungs burning and my heart about to pump out of my chest. In each rehearsal, however, I visualised myself onstage dancing the variation perfectly.

I found that once I had gotten to Prix, dancing my variation on stage was easier because I had already been onstage in my mind. For me visualising is essential and a great tool that gives me confidence.

How did you select and prepare your contemporary solo?

I first saw my contemporary solo on the website of the Prix de Lausanne and instantly fell in love. The combination of the music, and the fluid and effortless movements of it captured my attention. I really love to tell a story through movement and emotion and I knew this solo was going to let me do that.

Joel Woellner performing his contemporary solo at Prix de Lausanne 2013. Photo by Gregory Batardon

I started rehearsals with my contemporary teacher, Pricilla Murphy. Her coaching was incredible! She taught me how to articulate my movements, as well as to keep a strong centre. Throughout my rehearsals with her I learnt so much about my body and how to dance in a truly contemporary style.

The day before I left for Switzerland a showing was put on in the studio theatre at Houston Ballet. The company members, the artistic staff and the Artistic Director were invited to watch, so many people came. This experience was a ‘dress rehearsal’ of what the Prix was going to be like. I was very nervous but I was well prepared so the performance went smoothly and the experience gave me so much confidence. I felt very self-assured afterwards and I knew that Prix was going to go well.

What do you think the judges were looking for most in their potential Prix prize winners?

I think the judges are looking firstly at the dancers’ technique and physique — can they dance steps confidently and do they physically look the part on stage? I also think they look at whether or not a particular dancer can survive in a professional environment.

From the small amount of company life that I have witnessed, I have noticed that the ability to learn and apply corrections to choreography is crucial. Someone that can take on board what a choreographer or artistic director is asking will always succeed. Having rehearsals with the choreographers of the contemporary solos represents a chance to showcase and improve upon this ability.

How have your wins affected your training goals?

Being a scholarship winner allows me to receive an apprentice contract with an associate company of the Prix de Lausanne. I’m proud to say that I have been offered and have accepted an apprentice contract with Houston Ballet. However, I know I’m not the ‘finished product’ as a dancer. Being a part of the company and dancing beside so many amazing artists will push me even more. I aim to work as hard as I can so that one day I may be as good as the people I’m dancing next to.

Prior to the Prix, you had also competed at the YAGP in 2010, at which you were offered and accepted a Houston Ballet II full scholarship. Do you think international competitions are important to a dancer’s development?

It’s clear that international competitions provide exposure and the chance to be offered places in professional schools. International competitions also allowed me to compare my abilities with the rest of my age group around the world.

That year [at the YAGP], I didn’t make the finals. I remember being disappointed, but I have always looked at this experience as a positive and I really think that’s how all competitions should be viewed. I knew that I wasn’t yet up to scratch with the rest of my age group so I was determined to make sure that I was.

For me, competitions are what started my professional career.

Without whom do you believe you might not have made it this far?

I decided that being a professional ballet dancer was what I wanted to do with my life around the time I started high school, so I moved dance schools and started taking ballet classes with Jo Ansell and Kim Traynor [at Ettinghausens Dynamic Arts, Kirrawee NSW]. Both took an immediate interest in my career. Their wisdom and knowledge helped me to improve my technique and choose the best path for my career. Ms. Jo and Ms. Traynor have been so influential in my career, and I want to thank them for their dedication and the hard work they have put into me. I truly believe that I would not be where I am today without their help.

What advice would you give young dancers who want to compete in the Prix?

The advice I would give is: Number one, absorb everything you can from the week. Every correction the teachers and coaches give you is invaluable. Stay in contact with every friend you make because the ballet world is so small that at some point down the road you are likely to bump into them again.

Number two, try not to think of the Prix de Lausanne as a competition and get hung up on whether you make the finals or not. Instead, look at the week as a way of enhancing your abilities technically and artistically.

Photo (top): Joel Woellner competes at Prix de Lausanne 2013. Photo by Gregory Batardon.

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

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

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

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

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

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

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

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

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

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

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

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

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

Top photo: Dancer Huang Jun Shuang

By Rain Francis.

Pre-eminent choreographer and award-winning writer Douglas Wright’s work rapt is set to be performed in The Hague at the prestigious Lucent Danstheater next April. Douglas Wright Dance is initiating a fundraising drive to raise $35k NZD to realise the project.

The invitation has come from one of the world’s largest dance festivals, Holland Dance in conjunction with Lucent Danstheater, home to the world famous Nederlands Dans Theater. It is unique for a New Zealand company to achieve the chance to perform on this prominent dance stage.

The New Zealand Dance Company's 'Language of Living' at the ASB Theatre, Aotea Centre, Auckland. Photo to John McDermott

The project has received major funding support from Creative New Zealand, however the challenging economic environment and significant size and scale of rapt means that the total cost of the rehearsal period and tour cannot be covered by performance fees and Creative New Zealand funding alone.

People can donate from as little as $10 by visiting www.pozible.com/rapt.  A number of donation tiers with acknowledgement benefits have been created as a means to say thank you to supporters. These include personally signed Douglas Wright books as well as an opportunity to attend a rehearsal of rapt in Auckland before the company departs for Holland.

The world premiere performances of the recently established Auckland based contemporary company, The New Zealand Dance Company met with rave reviews from five different publications.

The programme featured works by Justin Haiu, Michael Parmenter, Sarah Foster Sproull and Executive Artistic Director Shona McCullagh. The company doubled their audience targets at their launch in the ASB Theatre, Aotea Centre.

Rise by Java Dance Company

After 25 years at the helm of Footnote Dance Company, Deirdre Tarrant announced earlier this year that she was retiring from the post. It has recently been announced that Malia Johnston will assume directorship in 2013. An award-winning choreographer, Malia is also currently Artistic Director of the Brancott Estate World of Wearable Arts Awards Show (WOW). She also runs Rifleman Productions and is a regular guest tutor of choreography and technique at both New Zealand School of Dance and Unitec.

Java Dance Company is continuing to have a great year. Out of 923 shows at the Adelaide Fringe Festival, Java’s Back of the Bus was ranked 5^th best. They’ll be back in Australia next month when they bring the show to Perth, for the Awesome International Arts Festival for Bright Young Things.

Java has also recently been commissioned to make a new show for 3-14 year olds for the Capital E International Arts Festival in Wellington.

New Zealand School of Dance third year students, due to graduate in November, are already receiving company contracts and offers for next year.

New Zealand School of Dance students Cauê Frias and Christopher Gerty. Photo by Stephen A’Court

Contemporary students Samantha Hines and Matt Roffe will join Australian Dance Theatre on full-time contracts, dancing alongside 2011 NZSD graduate Zoe Dunwoodie, who is already with the company. Their classmate James Pham has taken up a position with Chunky Move. He will perform in the company’s upcoming season at the Melbourne International Arts Festival.

Classical student Cauê Frias has been offered a place with Houston Ballet II and Christopher Gerty with San Francisco Ballet School’s Trainee Program. Cauê is performing in Stanton Welch’s September production of Madame Butterfly for Houston Ballet.

Top photo: New Zealand School of Dance students Matte Roffe, Samantha Hines and Simone Lapka, photographed by Stephen A’Court

By Rebecca Martin.

Eifman Ballet is arguably Russia’s most exciting modern ballet company and is touring Australia for the first time this month.  The company’s namesake, director and choreographer, Boris Eifman, is considered the face of modern dance in Russia and is bringing his 50 elite dancers to our shores to perform new works including Tchaikovsky and Anna Karenina.  His company comprises young, slim, and acrobatic dancers that are tall with long limbs – the minimum height for females is 174cm and males is 185cm.

The company’s only non-Russian dancer is America’s Amber Miller, who has trained with Ellison Ballet’s Professional Training Program in New York City and won first place in both contemporary and classical categories at the Youth America Grand Prix.  She was also featured on the web series Dance 212 which followed Amber’s training and life prior to her appointment with Eifman Ballet.

Dance Informa managed to catch Amber during her vacation before getting stuck into rehearsals for the Australian tour…

You turned down a contract with Houston Ballet in the US to join Eifman Ballet.  What was it about Eifman Ballet that enticed you?

Deciding to turn down Houston Ballet and join Eifman Ballet was a difficult decision for me. Houston Ballet is such an amazing company with many talented dancers and is extremely close to my home in Dallas. I never, in a million years, thought I would have the chance to go to Russia, let alone dance in a Russian company. So, when I was offered the contract from Eifman Ballet, I felt I couldn’t turn it down. Boris Eifman is such an imaginative choreographer and all of his ballets are so different from anything else out there. Getting the chance to be a part of the Eifman Ballet company and perform throughout the world at many of the great theatres has been an incredible experience!

Amber Miller of Eifman Ballet. Photos by Rachel Neville

What professional/dance challenges have you encountered since joining Eifman Ballet?

I went to school at Ellison Ballet in New York City and we mainly focused on pure classical ballet. Edward Ellison, the owner and Director of Ellison Ballet, does a tremendous job with pre-professional dancers and he gave me the skills necessary to dance professionally. Coming to Eifman Ballet was a little difficult at first because it is mainly contemporary, so I had to learn how to loosen up and use my technique in a different way while learning a completely new style. I also had to step in for a few performances when someone became sick or injured. While on tour in Berlin, I actually found out an hour before the show that I had to dance for a girl who had gotten sick! All of the dancers really helped me. During intermission we actually rehearsed the second act so I would know exactly where to go. It was definitely a stressful, but extremely gratifying experience.

What personal challenges have you faced?

I have experienced some personal challenges since moving to Russia. This was my first year away from home, so getting used to living without my family was definitely difficult at first. Thank the Lord for Skype and Facebook! It was also extremely challenging when I first moved because I did not know any Russian at all. Luckily, all the dancers are really nice and have helped me so much to learn the language and to help me get around St. Petersburg.

Tell us some highlights of working with such a wonderful company.

I have always wanted to travel and see the world. With Eifman Ballet, I have been able to do that. I’m still amazed at all the wonderful places we get to travel to and the beautiful theatres we get to perform in. Another major highlight is getting the chance to work with Boris Eifman. Watching him create new ballets is such an incredible experience and I am constantly amazed with the choreography and ideas he is able to produce.

What interesting cultural differences have you encountered?

Before moving to Russia, I was expecting everything to be completely different from the United States. Apart from the language, things are not all that different. There are a lot of restaurants, stores, malls, etc that are the same as in the United States. I spend my free time with friends doing mostly what I did in the States…eating, shopping, and enjoying time together.

Are you more Odette or Odile?

I am definitely more of an Odette. I’m a shy and quiet person most of the time, especially when I first meet someone.

What are you looking forward to doing when you come to Australia?

I have always wanted to visit Australia!! I am so excited and can’t wait to finally go. I know it’s kind of cheesy, but I am looking forward to seeing a koala bear and kangaroos. I am also really excited to see how the locals live and what everyday life in Australia is like.

Catch Amber and Eifman Ballet in Sydney and Melbourne:
Capitol Theatre, Sydney
Aug 15 – 26
Regent Theatre, Melbourne
Aug 29 – Sep 9
www.eifmanballetinaustralia.com

Queensland Ballet has announced that Li Cunxin has been appointed the new Artistic Director of the Company.

Already an internationally acclaimed ballet dancer, author and motivational public speaker, this will be Li Cunxin’s (pronounced shwin-sing) debut as an Artistic Director.

Queensland Ballet Chair, Adjunct Professor Joan Sheldon AM, said, “We are absolutely delighted to welcome Li on behalf of the Company, its friends and supporters. This is an exciting new direction for our Company, our audiences, and Queensland.

“Li’s passion for dance and devotion to artistic excellence and quality complements our vision as a leading classical ballet company with a distinctive spirit and vitality that is proudly reflective of Queensland and Australia. Li’s extraordinary career, international reputation, networks and commercial experience will provide the Company with invaluable opportunities to build upon the achievements of our 52 year history. The Company can only benefit with Li leading us into the next chapter of our journey of renewal, growth and pursuit of creative excellence.”

The six month global search attracted applications from over 40 candidates around the world. “Our culture of creativity, collaboration and intimacy attracts leading artists, performers and arts professionals from around the world. The field was extremely competitive and demonstrates Queensland Ballet’s strong position in the international dance community, our financial robustness and a firm belief in the Company’s potential to build on our success.” commented Mrs Sheldon.

At the age of eleven, Li was selected by Madame Mao’s cultural advisors to attend the Beijing Dance Academy. In 1979 he joined Ben Stevenson’s Houston Ballet company as an exchange student and later went on to achieve the top rank of Principal in 1982. He moved to Melbourne in 1995 to join the Australian Ballet as a principal artist. Li retired from ballet in 1999 at the age of 38 to pursue a career in the financial sector. He currently works in Melbourne as a senior manager at Bell Potter, one of the largest stockbroking firms in Australia and is on the board of The Australian Ballet and the Bionics Institute.

In 2003 Li published his international best-selling autobiography Mao’s Last Dancer, which has received numerous awards. The book was adapted as a feature film in 2009.

Commenting on his appointment Li said “I’m very excited. I have been following Queensland Ballet with great interest and feel privileged to help lead the Company into the next era. The Board and CEO Anna Marsden’s commitment to a strategic future for the Company is very powerful. I have always been immensely impressed with the quality of the dancers, and look forward to working with them. I’ve never lost my passion for dance, and I’m excited to start a new journey with such an ambitious and inspiring Company.

“It’s also a homecoming of sorts – my wife Mary McKendry is from Queensland and we’re looking forward to making it our home. Queensland’s cultural industries have experienced phenomenal growth over the last five years and I’m honoured to be joining the Company at this time. I have so many ideas – I can’t wait to get started.”

Li will begin programming the 2013 season when he joins the Company in July. He will be the fifth Artistic Director in the Company’s 52 year history and the first curatorial Artistic Director. Current Artistic Director Francois Klaus has international artistic opportunities he would like to pursue and the Board agreed Francois would leave his role as Chief Choreographer and Artistic Director at the end of 2012.

Top photo: Li Cunxin by Robert Bontscheck.
Published by Dance Informa dance magazine – everything dance in Australia – dance news, dance auditions & dance events.

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

By Rain Francis.

Audition season is almost upon us – are you ready?
Dance Informa wanted to give you a headstart with some top audition advice. And who better to ask than the directors of some of the best dance companies in Australia, and the world?

Advice from Stanton Welch, Artistic Director
Houston Ballet
www.houstonballet.org

What’s your most important piece of audition advice?
It’s very important in an audition that when you walk in you pay attention. The way that you engage the person and how you look are very important. You need to be dressed appropriately, you need to make sure that you learn the exercises with detail and that you show that you have a level of artistry. Don’t look fearful, and try to give them as broad a range of all the best qualities of you as an artist as quickly as possible.

What’s the biggest mistake dancers make when auditioning?
Trying to show off too much. In a few auditions that we’ve had, a teacher might set an exercise very specifically because we want to see a certain type of ports de bras or an arm or a jump, and then the dancer changes it so that they can show us their thing. Inevitably what they’re showing us is that they can’t learn in detail what you’re presenting.

What do you look for in auditions?
Of course you want a good dancer. I think there are many good dancers now so by the time you narrow it down, what makes you stand out is your work ethic and your artistry. You need to be a smart and intelligent dancer, as well as being someone who can completely transform into any role.

What can dancers do to be prepared?
Somehow I think it’s important that a young dancer gets through a process of practice auditions, so that by the time they walk into the real audition, they’ve somehow calmed their nerves down. I would suggest going to as many auditions as possible, put on as many numbers as possible, and do as many Eisteddfods as possible so that you’re so familiar with walking out and presenting yourself that it’s like a performance.

Advice from Rafael Bonachela,  Artistic Director
Sydney Dance Company
www.sydneydancecompany.com

What’s your most important piece of audition advice?
Wear the appropriate clothing, as a choreographer always likes to see the body of a dancer.  Don’t try to hide under a thousand jumpers and twenty pairs of leg warmers.  It shows confidence in yourself and who you are.

What’s the biggest mistake dancers make when auditioning?
Wearing too many clothes.

What do you look for in auditions?
There are different things I look for.  A strong classical and contemporary technique and being able to mix with a group but to have enough individuality and charisma to stand alone on a stage – after all, I only have 17 jobs on offer.
 
What can dancers do to be prepared?
The only way to be prepared is to work hard, be committed and focused.  To get to the highest level of quality, dance cannot be only a five day week commitment, it’s for life.

Advice from David McAllister, Artistic Director
The Australian Ballet
www.australianballet.com.au

What’s your most important piece of audition advice?
Don’t be nervous! All directors want you to be great and they want to see what you can bring to the company, so turn those nerves into excitement and just enjoy the experience. Always wear practice clothes that are neat and simple. Make sure you don’t cover legs with legwarmers and sloppy trousers as we will think you are trying to hide something. Ladies should always wear pointe shoes as the ladies in most ballet companies spend most of their time dancing en pointe.  

What’s the biggest mistake dancers make when auditioning?
Someone who cannot pick up the exercises and has difficulty with basic technical material will lose my attention quickly, and someone dancing off the music is definitely not destined for a contract.  For ladies, wearing a lot of makeup and too many accessories (hair and jewellery) is also distracting.

What do you look for in auditions?
Musicality is the thing that usually first attracts me to someone in an audition. Confidence in their ability and sureness of technique. I don’t mean that competition confidence, but an inner strength and grounded quality that draws the eye rather than acting as a beacon. Before the audition, I will look at their CV and preferably a DVD of them in action. I look at things like where they trained and who taught them, if they have had any previous employment and if not, any other stage experience. All these things count.

What can dancers do to be prepared?
Don’t do an audition if you don’t feel prepared both emotionally or physically as first impressions count; you’re better to reschedule if you are sick or injured. Do a good warm up and have a copy of your CV just in case.

Advice from Stephen Page, Artistic Director
Bangarra Dance Theatre
www.bangarra.com.au

Why do you choose to hand pick dancers rather than hold auditions?
All of our dancers are indigenous and they generally perform with the company for a minimum of four years, and sometimes for as long as twelve years. Sometimes we have a number of positions available in the same year so when this happens we do conduct auditions. We tend to be aware of indigenous students in tertiary institutions training at a professional level in contemporary dance and from time to time we offer secondments to graduates.

 What sort of process do you use for recruiting?
Because highly trained indigenous contemporary dancers are reasonably rare we are generally aware of them through their years of training and we are always open to hearing from dancers who are keen to work with the company.

What do you look for in potential dancers?
I look for someone with contemporary dance training who has an understanding of traditional Aboriginal and/or Torres Strait Islander culture. The dancers I find particularly interesting are those that respond well to Bangarra’s cultural philosophy and choreographic style.

What’s your advice to dancers hoping to find work in the industry?
I would advise all dancers, including indigenous dancers, to have a breadth of experience in all forms of dance so that they are creatively flexible and open to new ideas. Most important is for a dancer to have a great sense of themself as a person and as a performer.

Thinking of auditioning for a full time dance course? Check out our 2011 Full Time Dance & Auditions Guide! Click here

Jurgita Dronina of Lithuania, Senior Female Silver at the 2006 USA IBC. Photo Richard Finkelstein

The Houston Ballet celebrates 40 years
In celebration of its 40th season, Houston Ballet will stage a brand new production of the historic classic, La Bayadère. This world premiere by Stanton Welch is an exotic story of the temple dancer, Nikiya, her lover, Solor, and the vengeance that keeps them apart. Set in northern India, La Bayadère will dazzle audiences with lavish scenery and costumes. It will thrill novices and balletomanes alike with its strong classical performances including the famous Shades scene, staged for the entire corps de ballet. La Bayadère will run from Thursday February 25th to Sunday March 7^th at Brown Theater, Wortham Theater Center. The 09-10 Season will also see the introduction of five additional works into the repertoire, including masterpieces by George Balanchine, Jiří Kylián, Jerome Robbins and Twyla Tharp. 

2009 Next Wave Festival
The Brooklyn Academy of Music Next Wave Festival has returned for its 27th season with an unparalleled line-up of contemporary performance, artist talks, literature, film, and visual art. Dedicated to presenting emerging artists at the forefront of their disciplines alongside modern masters who continue to innovate, this year’s Next Wave is packed with adventurous art for adventurous audiences. Great works being presented include Decreation choreographed by William Forsythe, Itutu by Armitage Gone! Dance, Really Real by Wally Cardona and Company, and Mortal Engine by Australia’s Chunky Move, to name a few. Get your tickets. Visit http://www.bam.org/view.aspx?pid=1096

Laban Workshops and Auditions!
Laban, Europe’s leading conservatoire of contemporary dance training is coming to the US!
Laban, direct from the UK will be running dance workshops and auditions in New York and San Francisco.  The New York workshop and audition will run from November 14^th-15^th, held at The Ailey Studios. The San Francisco workshop and audition will run from November 21^st-22^nd, at San Francisco Conservatory of Dance. Places are limited. For more information and to register for the workshops and/or audition contact Clara Bezanilla at usa.audition@laban.ac.uk
http://www.laban.org/dance_programmes/

SAB To Hold Auditions in Tokyo
The School of American Ballet’s first-ever auditions in Japan will be held in Tokyo on October 11th-12th, coinciding with New York City Ballet’s performances at Tokyo’s Bunkamura Orchard Hall (October 8-12). The auditions will be for intermediate and advanced ballet students between the ages of 12 and 18 who are interested in attending SAB’s 2010 Summer Course. The Summer Course is a five-week program in which 200 serious ballet students from around the world live in the School’s on-site residence at Lincoln Center and take ballet, pointe, variations and partnering classes with SAB’s world-renowned faculty. Most advanced students enrolled in the School’s year-round program first attended one or more Summer Course sessions before being invited for full-time training in the Winter Term. The 2010 Summer Course will take place from June 28th to July 30th. The Tokyo auditions will be conducted by New York City Ballet dancers and artistic staff who are also current faculty members at SAB.  Students interested in auditioning must pre-register for the audition by sending an e-mail with their name, birth date and mailing address to sab@kyodotokyo.com.

Broadway Cabaret Festival
The fifth annual Broadway Cabaret Festival will be held at the NYC Town Hall from Oct 16^th-18^th. The festival celebrates Broadway’s established and up-and-coming talent, with a star studded cast of performers.  Make sure you get to the Town Hall, Broadway’s landmark concert venue, to join in the fun! The Town Hall can be found at 123 West 43rd Street. Tickets start at $50. For tickets and information visit www.the-townhall-nyc.org.

The Pulse On Tour
The Pulse On Tour 2009-10 kicks off in Orlando Florida on November 7^th-8^th at the World Center Marriott. With esteemed choreographer Gil Duldulao now part of the star studded faculty, including Tyce Diorio, Mia Michaels, Shane Sparks and Wade Robson, this Pulse Tour is set to rock. The Pulse will visit only 11 US cities, plus Toronto Canada, so make sure you reserve your spot. For more information, dates and to register visit www.thepulseontour.com

2010 USA International Ballet Competition
One of the world’s most prestigious dance events, the USA IBC, is a two-week Olympic style competition where tomorrow’s ballet stars compete for gold, silver and bronze medals,  cash awards and scholarships. Designated as the official USA Competition by a Joint Resolution of Congress, the USA IBC is held every four years, in the tradition of sister competitions in Bulgaria (Varna), Russia (Moscow), and Japan (Tokyo). The USA IBC in Jackson, Mississippi remains one of the oldest and most respected dance competitions in the world with up to $75,000 in cash awards, plus company contracts. The ninth USA IBC will return to Jackson from June 12^th – June 27^th, 2010. The written application deadline is October 30^th.  http://www.usaibc.com/

New York City Dance Alliance
The NYCDA tour starts again this October, with the convention’s first stop in Mobile, Alabama on October 24^th. The convention will tour to 23 cities before its 16^th National Season Finale in New York City in July, followed by a Summer Dance Intensive.
For more information, dates and to register visit www.nycdance.com 

International Association for Dance Medicine and Science – 19^th Annual Meeting
The 19th Annual Meeting of the International Association for Dance Medicine and Science (IADMS) will be held on October 29th-31st in The Hague, The Netherlands.  The 19th Annual Meeting will be followed by Special Interest Groups Day on Sunday, November 1st. The venue will be the renowned Koninklijke Schouwburg (Royal Theatre). The three-day conference is directed to those involved with the health-care, education, administration and supervision of dancers, including physicians, allied health professionals, alternative healthcare practitioners, psychologists, arts administrators, artistic directors, choreographers, educators, scientists, movement specialists, and dancers. For more information visit http://www.iadms.org

Very top photo: Chunky Move present Mortal Engine