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.

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.

Queensland Performing Arts Centre
December 2011

By Belinda Adams.

Queensland Ballet’s Swan Lake entertained Brisbane audiences throughout December with a modern take on the traditional classic.

This new adaptation is choreographed by François Klaus and set in 19th century Russia. Klaus tells the tale of a ballet-within-a-ballet as he spotlights a love story between Mathilde Kschessinska (Imperial Ballet) and a young prince Nicholas, while reflecting the original plot of Swan Lake. The tale begins with Mathilde in the ballet studio reflecting on the lost love of her prince and then follows her through the love triangle that ensues.

With this nontraditional revamp it was hard to believe that you are watching Swan Lake during Act I, however Act II and particularly III see more of the conventional Swan Lake tale emerge. Overall the story was a breath of fresh air that seemed to captivate and delight theatre goers, but was not overly suitable for children.

With such a wonderful opportunity to tell this unique Swan Lake story it was a shame that the dancing itself was technically lacking at times. It was immediately apparent that some the principal roles were filled by newcomers and there were a number of non-company members on stage.

Hao Bin’s move from his short four month stint as soloist to principal was unprecedented and carried a huge amount of pressure and attention. Hao portrayed his character with dignity and a majestic pride, while his dancing was slightly flawed in its execution. Technically he is a very talented dancer, however it may have served him well to remain a soloist for a longer period before leaping into the demanding principal role.

Rachel Walsh portrayed her character beautifully as always and has gained some confidence stepping into this role after missing the original run in 2008.

Other noteworthy dancers who caught the eye included Yu Hui for his powerful allegro, Teri Crilly for her sassy, cheeky and distinct performance and Gareth Belling for his exquisite pas de deux work.

A large part of the choreography was taken up by pas de deux by both the principals and corps. This was well executed and created a lovely sense of unity among the leading roles.

After closely watching the corps dance together it was evident that there was a mix of company members, Professional Year and School of Excellence students on stage. They worked hard and performed nicely but some spacing, unity and technique issues prevented them from working together as the synchronized backdrop to the principals and soloists.

I give credit to Graham Maclean (Set Design) and David Walters (Lighting Design) for creating a professional and pristine production.

The Queensland Ballet succeeded in performing a distinct adaptation of the classic Swan Lake that charmed audiences and introduced them to ballet for 2012 and beyond.

Expressions Dance Company’s Launch Pad, an intimate in-studio season of short duets, will return to Brisbane’s Judith Wright Centre of Contemporary Art in February 2012.

Launch Pad was developed by EDC’s Artistic Director Natalie Weir in 2010 to give choreographers an opportunity to road test new ideas and Brisbane audiences a chance to experience contemporary dance at close quarters and in detail.

“Launch Pad is always presented in our studio at the Judith Wright Centre. I love the intimacy of the studio and welcoming audiences into our creative space,” Natalie Weir said. “I wanted to create a platform for creation, a program designed for genesis of ideas in a supportive and understanding environment, with a group of very talented dancers who are experienced in giving to the creative process”.

For Launch Pad 2012, Weir has extended invitations to local choreographers Lisa Wilson, Claire Marshall and Gareth Belling to create a series of duets on the EDC dancers.

“I asked Lisa Wilson to choreograph for Launch Pad because she is an exceptional creator whose work is very beautiful. Her choreographic career is really gaining momentum. Launch Pad seemed a good opportunity for her to be able to experiment with her style and play with new ideas,” Weir said.

Claire Marshall is a Brisbane-based choreographer known for her work across different mediums, including the very popular SlowDive, which since its debut in 2010, has been touring Queensland.

“I invited Claire to create a duet because she has been making very unique work as an independent artist. She has a very distinct voice and I am looking forward to seeing if she further develops this style or goes in a different direction for Launch Pad”, explained Weir.

Gareth Belling, company dancer with Queensland Ballet, will be creating his first contemporary piece on EDC in Launch Pad.

“I have known Gareth for some time, from when I worked at Queensland Ballet as a choreographer and he was in many of my works. He has always shown an interest in choreography and has created pieces for Queensland Ballet, which have been very successful. I am very happy to give him the opportunity to work with EDC. It will be exciting to see how he develops a contemporary duet”, said Weir.

“Choreography is my passion and I’m pleased that Launch Pad has been successful over the last two years, in allowing choreographers to develop their ideas and present new work and grow their own passion”, Weir shared.

Launch Pad 2012
February 21 – 25
EDC studio, Level 4, Judith Wright Centre of Contemporary Art

Photo: EDC’s Jack Ziesing and Riannon McLean. Photo by Fiona Cullen.

By Kristy Johnson.

Keian Langdon, Hao Bin and Meng Ningning will join fellow Queensland Ballet dancers Rachael Walsh, Clare Morehen and Christian Tatchev as principal artists for Francois Klaus’ production of Swan Lake this month.

Artistic Director and Chief Choreographer Francois Klaus, is thrilled to have promoted all three dancers. “Keian’s powerful dramatic presence and excellent partnering skills make him an obvious choice for many major roles. To have two international stars of the calibre of Bin and Ningning choose to dance with Queensland Ballet is a compliment to our work in Queensland,” comments Francois.

While Hao and Meng joined the company as soloists after touring with the National Ballet of China, Keian has worked his way up within the company through acceptance into their professional year program in 2005, becoming a trainee dancer with the company in 2006 and as a full company member in 2007. With a standout performance in Klaus’ A Streetcar Named Desire, Keian was promoted to soloist in 2010.

Dance Informa had the pleasure of catching up with Kein, Hao and Meng during rehearsals.

Congratulations on being promoted to principal dancer for the Queensland Ballet. How does it feel?

Keian
Oh, it’s very exciting actually. It was really unexpected. It was just in my end of year interview that I found out. I just couldn’t believe it.

Queensland Ballet presents International Gala 2011, Dancers Meng Ningning and Hao Bin. Photo by Ken Sparrow

Hao
It feels very good!

Meng
It’s very exciting.

What made you decide to accept the role of principal dancer with the company?

Hao
It was an easy choice to make! My dream is to improve step by step every day. I want to bring my best to performing and dancing with Queensland Ballet. We were principals at the National Ballet of China, so it’s lovely to be principals again!

How welcoming has the Queensland Ballet been to you? Are the other dancers supportive and encouraging?

Keian
Everyone was really welcoming. The artistic staff are all really nice, friendly, and personable people. Francois and his wife Robyn, who actually runs the professional year program, are really nice, very encouraging and great teachers as well.

Hao
All the dancers and team are very supportive. If I ask a question everyone answers really warmly. Everyone is happy to help each other.

Were you already aware of Queensland Ballet’s high reputation and calibre of dancers?

Hao
Joining the company was my first experience of Queensland Ballet. I am impressed with how professional everyone is, and how the dancers give their best every time they perform.

Meng
I had heard of Queensland Ballet before performing with them. Australia only has three professional ballet companies, and Queensland Ballet is the oldest. When I performed at Queensland Ballet International Gala 2010 I noticed that the dancers and staff were very professional. Everything was perfect.

Keian Langdon in A Streetcar Named Desire by Queensland Ballet. Photo by Ken Sparrow

Keian
Well actually, I had never seen a production from the Queensland Ballet until I came here to be a professional year student. I had only heard about the company through my teachers at McDonald College, Sydney. They suggested auditioning for the professional year program, so I didn’t know a lot about the company. I’d heard that it was this great company in Brisbane and I thought I’d just audition and give it a go.

Hao, as a former star of the National Ballet of China, how has your time there prepared you for a career with the Queensland Ballet?

Hao
Chinese training brings very clean, correct positions and technique – there’s a real focus on classical positions and style. I hope we can all learn from each other; for example I want to improve my acting skills, which Queensland Ballet dancers are very good at.

Hao, why did you want to come to Australia?

Hao
I had been dancing with the National Ballet of China for a while, and wanted the opportunity to see different things and dance in different places.

How excited are you to be performing Swan Lake this December? Have you always adored the work of Artistic Director and Chief Choreographer Francois Klaus?

Keian
Very excited. Rehearsals are going well. We started rehearsing about a month ago for that. This will be the third time that I’ve actually performed this production of Swan Lake so I sort of know what to expect, but with the roles you perform there’s always room to improve and make them better than the last time you did them.

Hao
I’m really looking forward to Swan Lake. Francois’s version is based on a real story, and I’m looking forward to performing the role of Tsar Nicholas and Prince Siegfried.

Klaus’ lavish production of Swan Lake runs from December 3 -21 at the Playhouse, Queensland Performing Arts Centre.

By Grace Edwards

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

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

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

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

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

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

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

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

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

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

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

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

And the winners are…

The winners of this year’s Australian Dance Awards were announced on Sunday July 24 in a ceremony at the Queensland Performing Arts Centre.

The annual Australian Dance Awards recognise and reward professional Australian dance artists who have made an outstanding contribution to dance in the previous year. The Awards are presented in an evening of performance and celebration that showcases some of Australia’s outstanding dancers and dance works.

Ruth Osborne with two awards! Mark Greenmantle Photography

Ten Awards were given, as well as the special induction of Keith Bain OAM into the Hall of Fame. An outstanding teacher and performer, Keith danced with the Bodenwieser Ballet, founded the Australasian Teachers of Contemporary Dance (CDA), the Society of Dance Artists (SODA), the Dancer’s Picnic (forerunner to the Australian Dance Awards), and is a founding member of Ausdance. Keith is a recipient of two Australian Dance Awards: for Services to Dance Education (2003) and for Lifetime Achievement (1999).  Keith established, and was for many years, head of movement studies at the National Institute of Dramatic Arts (NIDA).

The 2011 Australian Dance Awards were held in Queensland for the first time in its 14 year history in Queensland Performing Arts Centre’s (QPAC) Playhouse. Featured performances included those from Queensland Ballet, Expressions Dance Company, Dancenorth, Aboriginal Centre for the Performing Arts (ACPA), Sydney Dance Company and Sue Peacock with Stefan Karlsson from Western Australia. 

Initiated in 1986 by Keith Bain as a Dancers’ Picnic, the Awards have grown to become the major event in the national dance calendar bringing prestige to nominees and winners alike.

The winners of a 2011 Australian Dance Awards:

Lifetime Achievement
Robina Beard OAM  
Robina Beard was awarded an OAM earlier this year for her services to the arts, particularly through dance, and she has had a long-standing relationship with the Australian Dance Awards, Ausdance and the Cecchetti Society. Robina has excelled in many different roles throughout her life as a dancer, performer, director, choreographer, teacher and advisor. She has been passionately committed to raising the standards of both performance and teaching in this country and has a long-standing commitment to developing and supporting Indigenous dance. She has worked extensively on television in musical, dramatic and comedy series, and was well known for her long-running series of commercials as “Madge” the manicurist for Palmolive dishwashing liquid.

Services to Dance
Ruth Osborne, Artistic Director – QL2 Dance in Canberra

Services to Dance Education
Valda Craig, one of Australia’s leading dance educators and advocates for over 40 years

Outstanding Achievement in Youth or Community Dance
QL2 Dance for Hard Yards

Outstanding Achievement in Choreography
Rafael Bonachela for 6 Breaths [Sydney Dance Company]

Outstanding Performance by a Company
Expressions Dance Company for Where the Heart Is

Outstanding Achievement in Independent Dance
Narelle Benjamin for In Glass

Outstanding Performance by a Female Dancer
Amy Hollingsworth for Irony of Fate [Sydney Dance Company]

Outstanding Performance by a Male Dancer
Daniel Gaudiello for Coppelia [The Australian Ballet]

Outstanding Performance in a Stage Musical
Alinta Chidzey for West Side Story

Dance Informa was the proud Major Media Sponsor for the 2011 Australian Dance Awards.

Top photo: Queensland Ballet Hungarian Overture. Photo by Mark Greenmantle

By Deborah Searle

Enjoying an exciting year, the Queensland Ballet have commissioned Dutch choreographer Nils Christe to create a piece for the company’s 50^th Anniversary Gala in August.  Christe, who has successfully worked with the company twice before, brings a wealth of knowledge, experience and creativity to Australia, having choreographed for Europe and America’s leading ballet companies in a career spanning over 35 years.

Tell us about your work for the Queensland Ballet International Gala. What can audiences expect?

I am remounting my work Fearful Symmetries on Queensland Ballet for their 50^th Anniversary International Gala in August. It’s the third piece I have done with the Company and this work is the youngest, being only a few years old. It is actually the first time it has been remounted since I created it on Ballet Mainz (Germany).

Rachael Walsh and Keian Langdon of QLD Ballet perform 'SYNC' (from …with attitude 2009)

Fearful Symmetries is choreographed to fabulous music of the same name by John Adams, my favourite composer at the moment. It has incredible drive and is high voltage, and has an element of “travelling”, or going somewhere.

Audiences can expect a piece which is “now” – current and contemporary. There are some surprising elements, which I don’t want to reveal now. I don’t want to ruin it for them! In this ballet, I play with primary colours – a reflection of the famous Dutch painter, Piet Mondriaan’s traditional way of painting with black, white and primary colours. Fearful Symmetries is nice in that it goes to an incredibly high climax and then ends peacefully.

How does your choreography challenge the Queensland Ballet dancers?

This piece is probably more challenging than Purcell Pieces and SYNC (the previous two works with QB) as it uses everything – pointe work, classical virtuosity, and contemporary elements. It is a great piece for them to get their teeth into. The dancers are absorbing it well, and I have been able to teach it to them very quickly. Indeed, the QB dancers who have danced in my other two works are picking it up very quickly.

Do you enjoy working with Australian dancers? Why?

I am often asked this question for whatever country I am working in. I find that working with dancers is really the same wherever it is in the world – all dancers are hungry to learn new material, they are like sponges.

Christe with his wife Annegian Sneep

Tell us about your years at Nederlands Dans Theater. How did they shape your choreographic voice?

NDT certainly influenced me as a young choreographer, but that was 30 years ago and many things have influenced me since then. Many of the people that influenced me at 20 years of age are no longer alive. It was definitely a special time, but so much has happened since in my career, and I have really found my way as a choreographer.

You have created so many ballets on the world’s most prestigious companies. How do you keep so inspired and creative?

Firstly, I am inspired every day by my wife and partner Annegian Sneep. Wonderful dancers also inspire me. People with their own Company, like Queensland Ballet’s Artistic Director and Chief Choreographer François Klaus, have an advantage as they are always tuned in with their dancers. However, as a freelance choreographer, there is the advantage of being challenged and inspired by dancers who you haven’t worked with before. I usually work with a Company prior to actually creating a ballet on them, which is different to creating on dancers who are used to being created on by me. Music is really the most important inspiration for me. I would now dare to choreograph to music I wouldn’t have choreographed to earlier in my career.

What are your career highlights?

There are so many highlights – I was so lucky to be at NDT with that fantastic opportunity to choreograph at such a young age. Before Nightfall with the Paris Opera Ballet was another highlight, working with dancers such as Sylvie Guillem – one of twelve of the most fantastic POB dancers ever. That whole cast became the POB étoile – at just 19/20 years old, an indication of how good they were.

Where will we see you next?

Paris Opera Ballet will be performing one of my pas de deux at the Varna Competition in Bulgaria, and then we will be working with the Swedish Ballet later in the year. We will be returning to Australia at the end of July to complete Fearful Symmetries in readiness for Queensland Ballet’s 50^th Anniversary International Gala.

What advice would you give to young choreographers?

Don’t try and re-invent the wheel.
Start with a smaller cast.
Don’t start with complicated music.
Don’t choreograph steps on yourself and then onto the dancers, go straight to the dancers.

To see Nils’ work with the Queensland Ballet make sure you get your tickets to the 50^th Anniversary International Gala. Click here for more information www.queenslandballet.com.au

Passionate young love collides with long-held family hatred …Shakespeare’s tragic story of star-crossed lovers unfolds through dance in Queensland Ballet’s thrilling production of Romeo & Juliet at the Playhouse, QPAC, from April 10 – 24.

Queensland Ballet’s Artistic Director and Chief Choreographer, François Klaus, has created a powerful ballet based on Shakespeare’s classic play, first performed by the Company in Brisbane in 2006 and regional Queensland in 2007.

Prokofiev’s brilliantly theatrical music accentuates the drama and romance, and magnificent sets and costumes re-create the lovers’ world in old Verona. Romeo & Juliet has often been interpreted by other art forms, including opera and film, but Klaus’s ballet offers a fresh perspective on the text through his own choreography. “Dance is a very powerful means of telling a story and expressing emotion. The language of Shakespeare finds its parallel in ballet, itself a poetic means of expression,” he explained. “When first approaching this work, I decided to focus on aspects of the original play which I felt would be best expressed by dance. Youth, haste and implusiveness are evident throughout, as is the sad truth that conflict engenders conflict. The story still has a distinctly modern relevance,” he added.

The first of three ballet classics in Queensland Ballet’s 50th anniversary year, Romeo & Juliet features set design by Graham Maclean, costumes by Noelene Hill, and lighting by David Walters.

Be swept away by the world’s greatest love story! Queensland Ballet presents Romeo & Juliet at the Playhouse, QPAC, from April 10 – 24. For bookings, phone qtix 136 246 or visit www.qtix.com.au

QLD Ballet Celebrates 50 Years!

‘Come Together’ Dance Convention
Friday 9th – Monday 12th October 2009
Victorian College of the Arts Secondary School
Never before has a Convention been held in Australia bringing together dance professionals from all genres to discuss and exchange ideas in both a practical and theoretical way.
The principle theme for the 2009 Convention is ‘Imagine, Inspire, Ignite’.
The ‘Come Together’ Dance Convention is open to all members of the dance industry and is expected to attract attendees from within Australia and Overseas. If you are a dance teacher from private practice, schools, colleges or universities, an educator or practitioner to the dance industry or a student from within the dance community you cannot afford to miss this event.

To find out more about the ‘Come Together’ Dance Convention or to register for the Convention or Master Classes please visit the Convention website at www.atod.net.au/danceconvention , or contact the Convention Organisers, Integrated Event Productions via email emma@intep.com.au

Golden anniversary for Queensland Ballet
In 2010, Queensland Ballet proudly celebrates its 50^th anniversary. A year-long program of special events and performances is planned to mark the significant milestone. To start the celebrations the company has announced a range of activities which will roll out from now until the end of next year. These include a Gala Dinner in March 2010, an exhibition at the Queensland Performing Arts Museum from September to December, and an Open Day in October. A range of new Queensland Ballet merchandise and memorabilia will be available, along with a book commemorating Queensland Ballet’s 50 year history. Titled “Keeping the Dream Alive”, it features beautiful photographs and historical information.

In 2010, The Company will perform three of Artistic Director François Klaus’s classic story ballets, Romeo and Juliet, Swan Lake and The Nutcracker, and will premiere a new ballet, Fonteyn Remembered, a fitting and moving homage to Dame Margot Fonteyn, one of the 20^th century’s most loved ballerinas.

The past, present and future of Queensland Ballet will be celebrated in the 50^th Anniversary International Gala and the Company will combine with Karak Percussion and acclaimed Brisbane-based contemporary chamber ensemble, Topology, to present …live attitude.  Perennial favourites, Vis-à-vis and Soirées Classiques will also feature in the 2010 program, to be performed at the Company’s Thomas Dixon Centre, along with a special one-performance-only presentation of Vis-à-vis – Moving Stories in the QPAC Playhouse, in which François Klaus will explore the transformation of literary works into dance. For further information about the Queensland Ballet 2010 Season and 50^th Anniversary events, phone (07) 3013 6666 or visit www.queenslandballet.com.au.

Dancenorth National Tour – Nightcafe
Come to a party where everyone is invited!
Nightcafe is an alcohol fuelled chaos where the audience will be ducking the flying furniture! Dancenorth’s most accessible work to date, Nightcafe delivers a poignant up-tempo night of enjoyment. This exhilarating production melds the high physicality and athleticism of Gavin Webber’s style mixed with the rawness, passion and lyricism of gypsy music. Set in a flamboyant night spot, the theatrical Nightcafe has the rhythm and tempo of a film noir sub-plot where the characters are consumed by lush musical textures and frenetic melodies as they move through melancholy to explosive energy. Visit www.dancenorth.com.au for tour dates and venues.
(Top photo from Nightcafe)

Tasdance welcomes two new dancers
Tasdance has two new dancers for you to meet and see in performance, chosen from auditions conducted in Melbourne earlier in the year which saw almost 100 dancers vying for a place with the company.  Dancers from around the country and even from overseas flew to Melbourne to attend. Sofie Burgoyne from Perth and Sarah Fiddaman from Sydney join Tasdance’s wonderful ensemble of Floeur Alder, Joel Corpuz, Trisha Dunn and Malcolm McMillan. Check them out at http://www.tasdance.com.au/people/
Join Tasdance to see Identity, their major season for 2009 opening in Launceston on October 16^th – 24^th.

Young Aussie Cleans Up at World Performing Arts Championships
Australian Damien Noyce set the world alight with sensational success at the World Championships of Performing Arts in Los Angeles. The 25-year-old Sydney-based singer/dancer/actor has returned home from the13th Annual World Championships of Performing Arts (WCOPA) with five gold medals and one bronze medal, as well as being named overall champion in two categories. Damien also scored an appearance in the internationally screened TV finals special, an industry award and an offer to study at the prestigious New York Conservatory. “It was truly an amazing experience!” says Damien. “Everything moved at the speed of light – especially the semifinals which involved working from 7am through the day and night – virtually creating and performing an original variety show in one day!” For more information about the competition visit http://www.worldchampionships.tv/site2010/

Mango Dance Studio Kid’s Bootcamp
Mango Dance Studio is one of the leading dance schools in Sydney. Mango prides itself on providing students with an intellectual approach to dancing, giving them a deeper understanding and enjoyment of this accessible art form. At Mango, they strongly believe in encouraging the love of dance in children in a non-competitive and non-threatening environment. The Bootcamp will offer training in Street Jazz, Contemporary Dance, Hip Hop, Popping, Musical Theatre, Funky Bollywood and more! For ages 6-16 years.
Date:Monday 12th Oct – Friday 16th Oct 2009, 10:00am – 4:00pm
Venue:121 Walker Street, North Sydney
Contact: 02 9922 1100 enquiries@mangodance.com.au www.mangodance.com.au

Performance Space Spring Season Announced
Performance Space has launched their final season for 2009 with an exciting and diverse range of performances, dance works and installation from across a multitude of spaces at Sydney’s premiere arts venue, CarriageWorks. This season the expansive foyer space of CarriageWorks will be taken over by Mathieu Gallois’s speculative, research-based art and architecture project 1 House = 1000 Homes.

The Spring Program sees the presentation of two significant, cross-cultural performance works by acclaimed companies, Theatre Kantanka and Marrugeku. Theatre Kantanka’s performance Missing the Bus to David Jones explores the mostly unknown and frequently hidden world of the women and men in nursing homes. Marrugeku’s Burning Daylight, brings together Indigenous dancers and musicians with artists working in performance styles as diverse as martial arts and acrobatics. Burning Daylight is explosive and haunting dance theatre not to be missed.

As part of the Spring Program Performance Space also presents the premiere of The Curiosities, a new performance installation work by Sue Healey, in collaboration with leading scientists, media artists and dancers. Inspired by the processes of biological development and evolution, The Curiosities evokes the feeling of a surreal natural history museum, where the body is presented as a specimen for scrutiny.

Performance Space will also host a range of dance residencies, which is a key part of their dance development strategy supported by Arts NSW with assistance from partners Next Wave and Critical Path. For more information visit www.performancespace.com.au