By Rain Francis.

Starting to think about full-time dance training? Now more than ever there are some fantastic options out there – and they may be closer than you think. Gone are the days when you have to move to Melbourne or Sydney to get the best training. While there are some amazing courses offered in these two cities and a wealth of dance opportunities, don’t dismiss the high quality training options offered elsewhere – staying closer to home could be a good option for you.

One of the most important factors in staying closer to home is of course having your loved ones near. “The family can directly manage all aspects of their child’s development and training, providing hands on love and support,” says Canberra Dance Development Centre Director Jackie Hallahan. This means having a helping hand with everything from your day-to-day living tasks, to just having a shoulder to cry on when you are exhausted or frustrated.

“Dancing full time can be very demanding physically, mentally and emotionally,” says Beth James, director of Western Australia Conservatoire of Classical Ballet. “For a young student, having these demands – as well as living on their own without family – and having to go home to cook, clean, and prepare after an exhausting day can be tough. And of course, having your friends close by on your day off can be just what you need to keep a healthy balance away from dance.” Although you will make lots of new friends wherever you study, it’s wonderful to be able to keep in touch with your established friends – and not just on Facebook!

“In our experience, most students find the transition from high school to 30 hours a week of intensive training somewhat overwhelming, especially throughout the first term,” agrees Phil Talbot, CEO/Director of Principal Academy of Dance and Theatre Arts in Perth. “By being close to home they have the support of family members to help them maintain a healthy lifestyle and cope with stress, especially at assessment time.”

Canberra Dance Development Centre full time student Georgia Powley. Photo by Greg Primmer.

It is perfectly normal to find the transition to full-time training difficult. Besides dealing with a new environment, new people and the physical and mental stresses of such a full-on workload, if you’re living away from home there are additional pressures. It might be the first time you’ve had to do your own food shopping, transport yourself to the studio, pay bills and deal with other everyday realities. After a long day of training, it’s likely that all you’ll want to do is have a bath and then vegetate on the lounge room floor. This is where unhealthy habits can start to creep in, such as living on ‘convenience’ food. Living at home can give you more stability, so you are freer to put all your energies into your training.

Another thing to consider is money. Full-time training can place a large financial burden on you and your family, and training closer to home can help ease that considerably. Though it may be tempting to leave home and head for the big smoke, try to be realistic about the pros and cons.

Living at home can save thousands per year on rent and other living costs. And if you are living away from home, you’ll be paying much more to live in one of the bigger cities. Unfortunately, getting yourself into debt early on can really affect your future. “It’s not just the family – the student takes on the financial burden as well and this can interfere with decisions made down the track,” James explains. The reality is that you may not be able to travel to auditions or afford to do all the classes you need to after graduating.

Hallahan agrees, adding, “[Staying at home means that] the students’ parents may be able to invest more money in their child’s training rather than on additional living costs.” So if there’s any way to avoid getting into debt – or placing strain on your family’s finances – it’s advisable to investigate and consider these options.

Australia’s most successful dancers didn’t all come from the schools in the big cities. Terry Simpson Studios in Adelaide turned out Remi Wortmeyer (The Australian Ballet and Dutch National Ballet), Nicola Leahey (Compagnie Thor, Belgium), Jesse Scales (Sydney Dance Company) and Nicola Wills-Jones (Royal Ballet, Flanders). Graduates of Western Australian Academy of Performing Arts (WAAPA) in Perth have worked in Western Australian Ballet, Queensland Ballet, Australian Dance Theatre, Expressions Dance Company and many international companies.

There are also some world-class dance companies outside of Sydney and Melbourne. Adelaide has Australian Dance Theatre and Leigh Warren and Dancers, Townsville has Dancenorth and Launceston has Tasdance, just to name a few. Making yourself known to these companies while you’re training – either through secondments or taking company class – can be a great way to build relationships which may lead to employment after graduation. Also, if you are considering a career as a choreographer, do some research into the local grants available from your state’s branch of Ausdance, or from your regional council. Sometimes, being in a smaller centre can actually be an advantage; there are less people vying for the same funding dollars. So, make the most of all your area has to offer.

Of course, I’m playing devil’s advocate here; there are also advantages to flying the coop. The truth is that no matter where you choose to study, you will find a way to make it work, and to get absolutely the most out of every opportunity that comes your way. Your full-time training will be one of the most challenging things you will ever do, but it is also an exciting time which will pass you by far quicker than you can imagine!

Be sure to check out Dance Informa’s 2014 Full Time Dance and Auditions Guide, out this July. The Guide lists the best full-time schools and courses across Australia.
To check out the 2013 Full Time Guide, click here.

Playhouse, Queensland Performing Arts Centre, Brisbane
April 13, 2013

By Belinda Williamson.

Queensland Ballet’s Cinderella recently entertained Brisbane audiences with its modern take on the traditional classic.

This was the first ballet presented by Queensland Ballet since Li Cunxin took the role of Artistic Director. He has certainly made a huge impact on the company. Cinderella was definitely a step up from previous performances I have seen by Queensland Ballet. The choreography was fresh and exciting, with beautiful costumes and excellent staging.  Li is the breath of fresh air that QB needed.

The dancers told the traditional story of Cinderella with a few subtle and entertaining twists. Two hilarious male dancers played the wicked stepsisters and brought the stage to life whenever they stepped into the light. Credit definitely goes to Yu Hui and Matthew Lawrence for portraying such colourful and fun characters.

Rachael Walsh danced beautifully as Cinderella. She was graceful and elegant while also having character in her dance – a perfect role for her to play.

Other noteworthy dancers who caught the eye were Teri Crilly for her sassy, cheeky and distinct performance and Nathan Scicluna for his comical portrayal of the jester.

The choreography was exquisite, especially the company section in the second act. There was definitely something different about this choreography with new sequences, patterning and some new takes of pas de deux work. It was a pleasure to watch and it constantly kept me entertained.

Credit must be given to QLD Symphony Orchestra for providing an excellent score and to all of the production team for creating a professional and pristine production.

Queensland Ballet has definitely matured and been given life in this new production. I hope to see them grown further throughout the 2013 season and beyond. Li Cunxin, thank you for bringing your talent and passion for ballet to Queensland.

Photo: Queensland Ballet dancers Rachael Walsh and Yu Hui. Photography & Art Direction by Alexia Sinclair

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

By Paul Ransom.

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

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

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

Matthew Lawrence. Photo by Richard Batty.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Top photo: Dancer Huang Jun Shuang

QPAC, playhouse.
September 27
As part of Brisbane Festival

By Marc Clayton.

Brisbane Festival provided the platform for Dance Energy, a collision of classical and contemporary dance exploring the human struggle for survival and a sense of identity. For the first time Dancenorth, Expression Dance Company and Queensland Ballet joined forces for Dance Energy, creating a thought provoking dance journey for Brisbane audiences.

Brisbane Festival Artistic Director Noel Staunton was the main driving force behind Dance Energy.  “We have such amazing talent in our own back yard, it is a real treat to bring them together to showcase their incredible skills”, said Staunton. And a treat it was!

The talented Brisbane based choreographers that produced this inspiring showcase were Dancenorth’s Raewyn Hill, Expressions Dance Company’s Natalie Weir and Queensland Ballet’s Gareth Bellingall. The show then concluded with a work from London based, New Zealand choreographer Cameron McMillan.  All of the music used was created by composer, Peter Sculthorpe.

The four acts that made up Dance Energy were very diverse but they were bought together beautifully by the combined efforts of Sound Designer Brett Collery, Designer Bruce McKinven and Lighting Designer David Walters.  Without their efforts Dance Energy would have not had the same appeal and been the overall master piece that I witnessed.

The acts that resonated most with me were Act One, Allegories, and Act Three, The Lament.

Allegories was very effective.  The sheer simplicity of using white business shirts and suitcases to transform the space was brilliant and had the audience wanting more.  A combination of dancers from Dancenorth and Queensland Ballet performed this breath-taking piece, with standout performances from Tere Crilly, Rian Thompson, Robert McMillan,Thomas Gundry Greenfield, Jeremy Poi, Jessie Oshodi and Anita Hunziker. This piece was a brilliant success for Hill as she conveyed a powerful message to the audience.

Natalie Weir’s, The Lament told a raw and heart felt story of love and loss through war and conflict. The power carried throughout the piece drew audiences in from the first step.  The combination of Expressions Dance Company and Queensland Ballet dancers made for a diverse, yet punchy performance. Riannon McLean, Elise May, Rachael Walsh, David Williams, Jack Ziesing and Piran Scott were stunning. It was also great to see Weir present a dynamic male trio onstage.  The raw strength and energy revealed in this piece was outstanding.

I hope that this is the first of many shows we see in Brisbane with combined works from Dancenorth, Expressions Dance Company and Queensland Ballet – industry’s driving forces in dance.

Photo: Dance Energy, photo by Christian Aas

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

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

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

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

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

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

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

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

By Rain Francis.

State Theatre
June 9, 2012

The best dance companies from all over the country assembled at Arts Centre Melbourne for The Australian Ballet’s 50^th anniversary gala, and it was an absolute treat. The variety of offerings truly showcased the depth and breadth of artistry nationwide; there really was something for every audience member – unless your thing is tutus, because there wasn’t one in sight.

The evening kicked off with the West Australian Ballet’s, Ombra Leggera, choreographed by Artistic Director Ivan Cavallari. It was performed by Daryl Brandwood and Andre Santos, two very different dancers who worked together beautifully. Quick, playful and a bit cheeky, this light-hearted duet was a superb display of technique.

By contrast, Don’t by Brisbane’s Expressions Dance Company was dark and powerful; an “exploration of the emotional power of words”. Dramatically lit and costumed in monochrome, it depicted three couples and their struggles to communicate. From the opening solo under a dappled spotlight, to the electrifying partner work, Don’t was engaging from start to finish.

Tasdance presented a short film, Momentary by choreographer Anna Smith. I was excited to see this offering from our friends across the Strait, although this perhaps wasn’t the best setting for the film. It was hypnotic and mysterious, but I think some quality was lost somewhere along the way – projecting onto the big screen did not seem to do it any justice.

Unsurprisingly, it was Australian Dance Theatre that brought the most innovative present to the party. They performed an excerpt of Be Your Self – an exploration of the human body and the concept of the ‘self’. Whatever combination of methodologies they are getting into over in Adelaide these days, it is a winning one – these performers are verging on superhuman. Having now seen two excerpts of this incredible work on the State Theatre stage, I hope Melbourne will be honoured with the full shebang sometime soon.

Dancenorth presented a brand new work, Fugue, choreographed by Artistic Director Raewyn Hill.   Inspired by Spanish bullfighting and the “dancing plague” of 1518 (where people allegedly danced themselves to death), Hill set out to “embody both a feeling of relentless and a communal experience.” This was achieved through the use of unison; the cast of eight moved in a constant swarm – which is no mean feat, especially in a piece so athletically challenging. The Sass & Bide costuming, although glamorous, seemed to swallow the dancers up and detracted from the intricacy of the movement. Ravel’s masterpiece Bolero, with its gradually building energy and repetitive structure was a fine choice to express the themes of the dance.

Another high point of the evening was Queensland Ballet’s excerpts from Cloudland, choreographed by Artistic Director Francois Klaus. The two pas de deux were performed flawlessly by Rachael Walsh and Keian Langdon, to Almost Like Being in Love and No Moon At All. Normally not a fan of choreography to music with lyrics, I was not bothered in this case, perhaps because I was swept up in the romance and pure beauty of the dance.

An excerpt from Rafael Bonachela’s 2 One Another, Sydney Dance Company’s contribution to the programme was, as expected, technically exquisite. The work explored human interaction, although the stimulus had been abstracted to a point where this fact became largely unrecognisable. Still, the combination of phenomenal dancers, innovative choreography, powerful music and beautiful costumes, lighting and staging made this another winner from Sydney Dance Company.

Tim Harbour’s new work for The Australian Ballet, Sweedeedee, painted a sentimental picture of a family. It was performed with grace and charm by beloved former Principal Artists, Justine Summers and Stephen Heathcote, as well as two Australian Ballet School students, Lennox Niven and Mia Heathcote, Stephen’s daughter. The stage was set (by Benjamin Cisterne) with an oversized washing line complete with white sheets, which were worked effectively into the choreography. Harbour’s movement in this piece was refreshingly uncomplicated, with clean lines and a gentle pace. Funny, sad and sweet, the stories it told were enriched by folk songs played live, with the Musical Direction of Chong Lim. Lexi George’s costumes were a standout, as was the magnificent lighting by Cisterne.

In his programme note, Artistic Director David McAllister cited David Bowie as the inspiration for the naming of this gala. Let’s Dance confirmed that dance is very much alive and well in this country. And judging by the spectrum of creativity and skill in the industry, it seems that Australian dance is set, like Mr. Bowie, to continue to reinvent itself, and only get better with age.

Top photo: Sydney Dance Company presents 2 One Another.

By Rain Francis.

This month, Australia’s preeminent dance companies will unite for a very special occasion. As part of The Australian Ballet’s 50^th anniversary celebrations, Arts Centre Melbourne will host Let’s Dance, for 11 performances only. This is a unique opportunity for dance lovers to see the very best of the best, from every corner of the country.

“In our 50th year I wanted a program that recognised that dance is a thriving part of our cultural landscape. From stages to school halls, thousands of people are dancing across Australia every day,” says Artistic Director of The Australian Ballet, David McAllister. “It was also a chance to bring the Australian dance family together to celebrate and to share the wonderful companies of our nation with lucky Melbourne audiences.”

The headliner of this un-missable gala season is the premiere of Tim Harbour’s Sweedeedee. Also presenting new works are Raewyn Hill and Natalie Weir, Artistic Directors of Dancenorth and Expressions Dance Company, respectively. Performing works never before seen on a Melbourne stage are Australian Dance Theatre, Queensland Ballet, West Australian Ballet and Sydney Dance Company. To top the evening off, Tasdance will present a short dance film.

To find out more about what is in store, I spoke to each of the companies involved in Let’s Dance.

Mia Heathcote, Steven Heathcote & Tim Harbour. Photo by Georges Antoni

Company: The Australian Ballet
Title: Sweedeedee
Choreographer: Tim Harbour

Australian Ballet devotees are in for a rare treat with Tim Harbour’s brand new ballet. Sweedeedee sees a return to the stage of beloved former principal artists, Justine Summers and Steven Heathcote. Himself a former Senior Artist with the company, Harbour has shared the stage with the pair, but this is the first time he has choreographed on them.

“Justine and Steven formed a partnership that was particularly cherished by audiences”, Harbour explains. “They both have a deep resonance on stage that I want to tap into. While neither is at the height of their virtuosic powers any more, they are both still beautifully vivid movers.”

The notion of the “Australian dance family” described by McAllister became the starting point for Sweedeedee. Playing the children of Summers and Heathcote will be two students from The Australian Ballet School – one of whom is Heathcote’s actual daughter, Mia.

Harbour has aimed to create something that is fun for cast and audience alike, as well as being a vehicle for this particular, unconventional cast. “I knew I wanted to create something that two dancers in their forties and two mid-teen children could deliver,” he says. “Steven, Justine and myself are all parents now and that has informed the piece too.”

Sweedeedee will be performed primarily to a collection of folk songs, including numbers by Woodie Guthrie and Leonard Cohen, played by a live band. With sets and lighting by Benjamin Cisterne, costumes by Alexis George and projections by Lily Coates and Gavin Youngs, this promises to be a sensory delight fit for a 50^th.

Dancenorth "Fugue"

Company: Dancenorth
Title: Fugue
Choreographer: Raewyn Hill

Inspired by Spanish bullfighting, performed to Ravel’s legendary Bolero and costumed by Sass & Bide, Fugue is sure to be quite a spectacle. Raewyn Hill describes it as “a relentless, trance like experience”, with seven dancers moving as one and pushed to their absolute physical extremes.

Hill researched extensively for this new work, and notes that “the bullfight is often referred to as a metaphor for a fight between mankind and death.” She has aligned this concept with the story of the ‘Dancing Plague’. This mysterious event allegedly occurred in Strasbourg in 1518, when people spontaneously began to dance and continued for days, some even to their death.

“The dancers have really embraced the challenge, and they give phenomenal performances,” says Hill. Be ready to be mesmerised by this exciting premiere!

Company: Expressions Dance Company
Title: Don’t
Choreographer: Natalie Weir

Natalie Weir’s brand new work Don’t is developed from a piece called Scripsi Scriptum, which explores the art of communication and the written word. “I thought the duet was very powerful”, says Weir, “and wanted to work further with the idea of a singular word and its emotional resonance.”

As with all of Weir’s work, which tends to explore “human emotion and connection”, the ideas presented in Don’t are ones to which we can all relate. As the choreographer notes, “sometimes we wish we could take back the things we say to each other. We forget the power that a word can have, its impact on others, and how easy it is to interpret or indeed, misinterpret.  The concept behind Don’t is very simple, but beautiful and quite sad at times.”

Australian Dance Theatre's "Be Your Self". Photo by Chris Herzfeld

Company: Australian Dance Theatre
Title: Be Your Self (excerpt)
Choreographer: Garry Stewart

Be Your Self is a work that has been informed broadly and from vastly different viewpoints. Amongst their eclectic training and development schedule, ADT often engages in meditation practice. Initial sessions were led by a Buddhist monk, who discussed with the company the nature of ‘self’ according to Buddhist principles. Garry Stewart also consulted with a professor of physiology about the ways in which emotions are connected to the body and “how the hormonal system interacts with the brain neurologically and chemically when we experience certain emotions.”

The resulting work is an “exploration of the human body as the starting point for defining the concept of self.” ADT performed a snippet of Be Your Self at the Australian Dance Awards in 2009, and Melbourne audiences were, of course, blown away. Though we’re yet to be treated to it in its entirety, I bet we’re all looking forward to getting another glimpse of this incredible creation.

Company: Queensland Ballet
Title: Cloudland (excerpts)
Choreographer: François Klaus

A sell-out at the 2004 Brisbane Festival and loved by European audiences, Cloudland takes us back in time to the iconic Brisbane ballroom that was popular from the 1940s to the 1980s. “When I was creating the ballet we were overwhelmed by responses to our calls for information”, says François Klaus. “People sent in delightful anecdotes, photographs and even CDs relating to their experiences at Cloudland. This story was very important to Brisbane life for a lot of people.”

Melbourne audiences will be treated to two lyrical pas de deux: Almost Like Being in Love and No Moon at All. “It’s a lovely production with beautiful sets, costumes, and music”, says Klaus. “The themes of love and nostalgia have universal appeal – the story is local in one sense to Brisbane, but people anywhere can relate.”

WA Ballet's Daryl Brandwood & Jayne Smeulders in Ombra Leggiera. Photo by Jon Green.

Company: West Australian Ballet
Title: Ombra Leggiera
Choreographer: Ivan Cavallari

Inspired by the lyrics from the aria Ombra Leggiera in Meyerbeer’s Dinorah, the dance evokes a dialogue with a shadow. It was originally a solo created for Daryl Brandwood, who would interact with movements projected onto a screen. “It was to have been staged in this format at the Quarry Amphitheatre”, says Ivan Cavallari, “however once we were there, it became obvious that the complex projections would be technically unachievable. Thus it became, overnight, a pas de deux!”

Ombra Leggiera is just one instalment in a trilogy of works set to arias sung by the illustrious Maria Callas. “For the moment I have choreographed the first two arias”, says Cavallari, “but I’m still undecided about the third.” So watch this space!

Company: Sydney Dance Company
Title: 2 One Another (excerpt)
Choreographer: Rafael Bonachela

Prior to a Melbourne season of 2 One Another in November this year, Sydney Dance Company brings a segment of its most recent work to Let’s Dance.

2 One Another celebrates “relationships, interactions and the sheer beauty of the human form”. Developed in collaboration with the young Australian poet Samuel Webster, it was enthusiastically received by Sydney audiences in March.

The Daily Telegraph’s Vanessa Keys calls it “an awakening, a major turning point for Bonachela”. Jill Sykes of the Sydney Morning Herald agrees, naming it the choreographer’s “best since he became Artistic Director.”

Company: Tasdance
Title: Momentary
Choreographer: Anna Smith

“Momentary is truly a short moment in time, a glimpse from what has been and an instant of what might be”, says Anna Smith. The short film is a development of Quiescence, one of Smith’s earlier works, which was born of the Conceiving Connections Research project in 2000.

An investigation of the poem Gum Trees Stripping by Judith Wright, Momentary identifies eucalyptus bark as a reflection of human experience. “[The bark is] a skin that reveals a history that often outlives our own”, says Smith. “People have wrinkles, scars and marks on their skin because they have experienced the elements of life.”

Bringing to life the rich, colourful imagery of Wright, Smith hopes that the film reminds viewers to see the beauty and wisdom in growing old, and to “appreciate and take notice of what surrounds us.”

Let’s Dance runs from June 7 to June 16 at Arts Centre Melbourne, State Theatre.
Book through www.australianballet.com.au or call 1300 369 741

Top photo: Principal dancers Rachael Walsh and Keian Langdon of Queensland Ballet perform the Cloudland pas de deux. Photo by Ken Sparrow.

Published by Dance Informa dance magazine -covering dance in Australia, dance training, dance auditions, dance teacher resources, dancewear and fashion and more.

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.