Audiences across Queensland will have the chance to experience the grandeur of Russia’s Bolshoi Ballet via live simulcast from the Queensland Performing Arts Centre (QPAC) on Tuesday 4 June 2013.

The Bolshoi Ballet will present two productions, Le Corsaire and Dmitri Shostakovich’s The Bright Stream, which have never before been performed in Australia, both accompanied by the Queensland Symphony Orchestra.

The Bolshoi Ballet has not visited Australia in almost two decades and they are performing exclusively at QPAC from May 30- June 9 as part of the QPAC International Series, a partnership with Tourism and Events Queensland to bring the best companies in the world to Queensland.

QPAC Chief Executive John Kotzas said this simulcast will be the first ballet to be simulcast by QPAC and will go to eight regional centres around Queensland. It follows on from previous successful simulcasts of performances by Opera Australia, Hamburg Philharmonic Orchestra with the Hamburg State Opera and the Vienna Philharmonic Orchestra.

Mr. Kotzas said that “the Bolshoi Ballet is one of the biggest and most well-known performing arts companies in the world. Many people will no doubt be excited to see them perform.”

“Our research has shown that audiences feel a strong sense of being connected to the live performance even though they may be halfway across the state. QPAC’s live simulcast program is an important part of how we engage with regional audiences and how we can ensure that exclusive performances such as this one by the Bolshoi Ballet are seen by as many people in Queensland as possible.”

“There are many people on stage and off who make these simulcasts memorable for our audiences. Aside from the dancers and orchestra members you see, there an expert team of directors and crew that craft the experience for the audience.”

“In many ways audiences get a more intimate look at the production than they would if they were in the theatre. And with a production like Le Corsaire which is a huge ballet with massive and intricate sets, regional audiences will be able to see those sets and dancers up close and in detail,” said Mr, Kotzas.

QPAC works with regional performing arts centres across the state installing equipment and providing technical expertise enabling venues to receive performances live from QPAC.

In previous years live simulcasts as much as doubled the number of people able to experience the performance.

Queensland venues participating in the live simulcast of the Bolshoi Ballet are: Burdekin Theatre (Ayr), Moncrieff Theatre (Bundaberg), Cairns Civic Theatre (Cairns), Marquee Gladstone Marina (Gladstone) presented by Gladstone Entertainment Centre, Mackay Entertainment and Convention Centre (Mackay), Seafront Oval (Hervey Bay) presented by Brolga Theatre and Convention Centre and Fraser Coast Regional Council, Pilbeam Theatre (Rockhampton) and Empire Theatre (Toowoomba).

This free event is a treat for regional audiences. Make sure not to miss it!

The Bolshoi Ballet - Le Corsaire via Live Simulcast
Tuesday 4 June 2013
Live coverage from 7 pm, performance from 7:30 pm.
Tickets are free.  Bookings may be required.

Regional Venues:

• Burdekin Theatre – Ayr – Book at www.burdekintheatre.com.au or by calling 07 4783 9880.
• Moncrieff Theatre – Bundaberg – Book in-person at box office only. For information, visit www.moncrieff-bundaberg.com.au or call 07 4130 4100.
• Cairns Civic Theatre – Cairns – Book in-person at ticket office or phone 1300 855 835.  For information, visit www.cairnscivictheatre.com.au.
• Marquee Gladstone Marina – Gladstone – (Presented by Gladstone Entertainment Centre). Book in-person at box office or phone 07 4972 2822. For information, visit www.gladstone.qld.gov.au/gec.
• Mackay Entertainment and Convention Centre–Mackay- Book at www.mackaytix.com.au or by calling 07 4961 9777.
• Seafront Oval – Hervey Bay- (presented by Brolga Theatre and Convention Centre and Fraser Coast Regional Council) – No bookings required. For information, visit www.brolgatheatre.org or  call 07 4122 6060.
• Pilbeam Theatre – Rockhampton- Book in-person at box office only. For information, visit www.seeitlive.com.au or call 07-4927-4111.
• Empire Theatre –Toowoomba- Book at www.empiretheatre.com.au or by calling 1300 655 299.

Photo: The Bolshoi Ballet in Le Corsaire. Photo courtesy of QPAC

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

By Grace Edwards.

Drawing on the cumulative life experiences of the company’s fourteen members, Bangarra Dance Theatre’s forthcoming production Blak explores rites of passage – the rituals that mark the transition between childhood and adulthood.

Commissioning emerging choreographer and dancer Daniel Riley McKinley to work alongside him, Director Stephen Page continues his commitment to developing the next generation of Indigenous storytellers.

Both McKinley and Page take their initial inspiration for the work from past fascinations.  “For me, the initial idea came from Djakapurra Munyarryran, and the scarring he has on his chest,” says McKinley, “I have danced and shared a stage with him many times since I joined Bangarra and I was always intrigued by what they represented.” Page cites the influence of the earlier Bangarra production Skin (2000) which explored men’s and women’s ‘business’, customs and social issues from both the past and present and considered their status in modern society.

Daniel Riley McKinley. Photo by Jeff Busby

Both choreographers conceive of Blak as less anthropological essay and more personal inquiry. “As a young Indigenous male, I’ve started to question what my rite of passage is, or was, or is going to be,” says McKinley, for whom the broader themes of Blak resonate on a deeply personal level. “In traditional communities, the line between boy and man is so clear. Their level of responsibility changes, as does the way they are treated and looked upon within that community. I don’t feel it’s so black and white for us, as Indigenous males living in urban centres.”

Throwing these contrasts into greater relief, no doubt, was Bangarra’s recent weeklong fieldtrip to North East Arnhem Land. During their stay, men and women were given space to focus entirely on each other and ‘country’. Blak will consequently feature a distinct men’s section choreographed by McKinley and a women’s section under the direction of Page. “Our trip has definitely refuelled and reinvigorated us all,” says dancer Waangenga Blanco, a descendant of the Meriam Island people and of the Pajinka Wik, Cape York.

“After last year’s production of Terrain, which was primarily based on land and spirit of land, the edginess of Blak will stem from the land’s people…our experiences as Indigenous people in this day and age,” adds fellow dancer, Jasmin Sheppard, herself an Aboriginal woman with a mixed heritage of Irish, Chinese, Jewish and Russian descent.

Connecting old and contemporary generations within the Indigenous community is a responsibility the company takes seriously, and balancing this with the competing demands of mainstream audiences is no easy task. “We are the care-takers,” says Page. “Our challenge is keeping a respected relationship with traditional clans and maintaining the integrity from living stories, song and dance, generously passed down to the company as inspiration for our contemporary expression.”

Jasmin Sheppard performs in ‘Riley’. Photo by Andy Solo.

“The spirit of traditional rites of passage is passed down from generation to generation,” Page informs us. “Time and evolution have influenced the spirit of that passage. Blak will explore the spirit reaction those influences have had on us and we hope the audience can connect to that spirit.”

McKinley is excited to be working with his mentor to make that happen. “Whenever Stephen and I have been in the studio together, mainly him choreographing on me, we always seem to connect so easily,” he says. “The process has never seemed forced, and we seem to connect on the same movement and choreographic level.”

He added, “I have always felt that there is an unspoken connection between our creative minds. I am greatly looking forward to being in the studio together and seeing what we can collaboratively create on the fantastic dancers.”

Though Blak is only McKinley’s second work as a choreographer — his first was Riley for Bangarra in 2010 — he has been with the company as a dancer since 2007. He has toured and performed both nationally in the company’s productions Clan, True Stories, Mathinna, Fire – A Retrospective, of earth & sky and Spirit, and internationally in True Stories, Awakening and Spirit, as well as Stephen Page’s Warumuk — in the dark night as part of The Australian Ballet’s 50^th Anniversary celebrations.

Stephen Page and dancers in a rehearsal for ‘Blak’.

Helping bring to life the inspirations and shared vision of the company is composer David Page. Page created the musical soundscape for Bangarra’s of earth and sky in 2010, and also composed for the company’s productions Belong, Terrain, choreographed by Frances Rings, as well as Stephen Page’s Warumuk — in the dark night.

Together with Paul Mac, he has already begun working to bring Blak’s soundscape to life. Of his creative process, he says, “The spirit of the work comes initially from the story tellers, who in this production are Stephen and Dan. As soon as I have that, I start to create sounds and compose music that supports the movement.”

“Apart from being inspired by the story, I begin resourcing and listening to a vast library of instruments, sounds and other recordings. I then slowly create the music for each dance section, keeping close communication with the choreographer. The music must resonate with Bangarra’s unique way of showcasing contemporary Indigenous dance, but also embrace the present, creating a new work that can inspire and last always.”

Together, the artists and indigenous consultants will continue their cultural journey over the next few months as they work to make Blak an innovative and poignant contribution to Bangarra’s already highly-acclaimed repertoire. Though still in the early stages of its creation, Blak promises to carry on Bangarra’s tradition of marrying the urban and contemporary with the traditional, speaking to a variety of audiences whilst remaining deeply personal and spiritual, and helping us see with new eyes the relevance of the lessons of old in our own lives.

Tickets for the world premiere season at Arts Centre, Melbourne, 3 to 11 May and the Sydney Opera House, 7 to 22 June are now on sale. Tickets are also on sale for limited seasons of the Blak national tour at Illawarra Performing Arts Centre in Wollongong, Canberra Theatre Centre and Queensland Performing Arts Centre. To book tickets visit www.bangarra.com.au.

Top photo: Bangarra Dance Theatre’s Daniel Riley McKinley and Waangenga Blanco. Photo by Greg Barrett.

Playhouse, Queensland Performing Arts Centre
January 23 2013

By Belinda Williamson.

Welcome to Neverland! Ballet Theatre of Queensland recently took audiences to Neverland and beyond with their production of Peter Pan.

This adaptation of the renowned classic was produced by artistic directors Timothy Brown and Libby McDonnell. The story slightly deviated from the original and at times was difficult to follow.  It was puzzling why Peter would grow up in Neverland. But the ‘Pop Croc’ was a breath of fresh air that brought a fun, modern element to the stage and overall, the story was a hit with the audience. Children especially enjoyed this production.

The cast was predominantly children and young dancers who seemed to have some opening night jitters at times, but overall, they presented great technique and lovely stage presence. It was a great opportunity for young talent to be part of a large production, and perform on a prestigious QPAC stage.

Ted Cooper, who played ‘Little Peter’, was an absolute standout. With beautiful technique, crisp, clear lines and precise pirouettes, he was a pleasure to watch. He portrayed the role of Peter Pan extremely well through expressive dance and delightful dramatics. This young dancer definitely has a bright future ahead of him.

Another eye-catching dancer was Amy Radford, who played the ever-entertaining ‘Tinker Bell’.  She captured the cheekiness of this character perfectly and brought much needed life to the stage at times. With distinctive technique and demanding stage presence, Amy is likely someone who will spend her life on the stage.

Other noteworthy dancers who caught the eye include: Dominique Twigg as leader of the lost boys, Olivia Smith as the spunky ‘Pop Croc’ and D’Arcy Brazier as a special guest artist.

Choreographically, the production was good with excellent use of every part of the small stage and a combination of both classical and character steps.

Ballet Theatre of Queensland successfully performed a child-friendly ballet that showcased the amazing young talent that exists in Brisbane.

By Rain Francis.

Earlier last year, Ballet Theatre of Queensland took an exciting new turn. The state’s leading youth ballet company appointed not one but two new Artistic Directors, Timothy Brown and Libby McDonnell.

The passionate young leaders have been close friends and collaborators for many years. Between them they have a wealth of experience, as both performers and creators. This, combined with their youthful exuberance and vision, made them a perfect fit for the company, which has produced some of Australia’s most renowned and acclaimed dancers.

After auditioning and assembling a new cast, Timothy and Libby’s first project has been to create a brand new ballet, from one of the world’s most beloved stories. Every Sunday since May 2012, this passionate pair has been working with some of Australia’s most talented and dedicated young dancers, rehearsing this exciting new ballet. Peter Pan will launch at the Playhouse, QPAC this January.

Timothy Brown and Libby McDonnell with senior BTQ cast members

When creating Peter Pan, did you start from scratch or work with an existing show?

The ballet plot is based on the original Peter Pan story written by J.M Barrie. However, the interpretation of the story (we have a few new twists), how it is told choreographically and how it looks and feels visually is our own, new work. We have carefully selected our music from many sources and created a never before heard compilation for BTQ’s Peter Pan.

With such a wonderful story to work from, I’m sure there have been some fun moments during creation. Can you tell us a funny story from rehearsals?

During our intensive rehearsal week in the September school holidays, each day the dancers had a dress up in a fun theme. One of our dancers (on crazy hat/hair day) concealed a water bottle in her hair. It was the tallest beehive we have ever seen. She managed to wear it the entire day – it was an impressive effort.

Other great moments are rehearsing the sword fight scenes with our two guest artists Boris Bivona and D’Arcy Brasier – watching these two fight it out with our special rehearsal swords (made from foam) is pretty conducive to a belly laugh or two.

Our ‘Lost Boys’, some of our junior dancers, are a constant source of humour in the rehearsal studio…The list is really endless!

What can audiences expect from this production of Peter Pan?

Queensland’s most talented young dancers performing a two act story book ballet. Stunning new costumes, on a gorgeous new set design. There will of course be imaginative choreography and many fabulous characters to fall in love with. It will be sprinkled with moments of beauty, laughter and adventure. Audiences will see our talented young company – through the magic of ballet – bring the story of Peter Pan to life. And you might just see a few fairies if you’re lucky!

Peter Pan takes place from January 23 to 25, at the Playhouse, Queensland Performing Arts Centre. For tickets visit www.qpac.com.au or call 136 246.

Photo: Timothy Brown and Libby McDonnell with senior BTQ cast members.

Nijinsky -The Hamburg Ballet
Queensland Performing Arts Centre
26 August 2012

By Elizabeth Ashley

The Hamburg Ballet’s choreographer John Neumeier found it fitting that “the 40^th season of my company begin with a tour to a new place, half-way around the globe, to communicate with a new audience the importance of Nijinsky.”

Nijinsky is Neumeier’s homage to the enigmatic and brilliant Russian dancer/choreographer Vaslav Nijinsky – ballet’s first international male superstar. Achingly beautiful and disarmingly emotional it has become one of the company’s signature works.

Neumeier paints a grand portrait, combining the intimacy of Nijinsky’s creative vision and memories with broad brushstrokes of world history, moving from the sparkling Belle Epoque to the darkness of World War I. The depth of this portrait combines the German willingness to express the rawness of human misery with an enticing quality of sensuality.

In two parts, the ballet opens as Nijinsky prepares for his final performance that he dubbed his “wedding with God”. Guests walk onto the stage – couples, individuals. We see the distinctive signature hat of Serge Diaghilev, we hear the guests speaking – it’s the Tower of Babel, Portuguese, Russian, Italian, Chinese, German…the diversity of the Hamburg Ballet Company foreshadows the sense of fragmentation and madness that will come.

Part I is a stream of consciousness where Nijinsky, imagining the appearance of Diaghilev, fills the stage with his past memories of family, relationships, his sensational career with the Ballet Russes and famous roles – the Harlequin, the Golden Slave in Schéhérazade and the Poet in Les Sylphides.

It also portrays his search for a new choreographic language and the ensuing artistic breakthroughs of L’Après-midi d’un faune, Jeux and Le Sacre du printemps.

In these dreamlike sequences Nijinksy the man is always present, simultaneously dancing with his various alter-egos, creating confusion in the audience’s mind as indeed for Nijinsky. Alexandre Riabko in the main role is intoxicating, his eyes seek the audience, conveying innocence, vulnerability, fear and madness.

Part II of the ballet immediately shifts to a somber and oppressive mood. The audience witnesses Nijinsky’s descent into madness as he sees the world around him going crazy – a brother in a straightjacket, Diaghilev with a new lover and protege, uniformed soldiers signaling the advent of the Great War.

Poignancy and oppression culminate with the appearance of Nijinsky’s Petrouchka, brilliantly portrayed by Lloyd Riggins. In Petrouchka we see Nijinksy himself, a vulnerable and misunderstood troubled soul who can only unleash a tragic, silent scream.

The cast of dancers who portray Nijinsky’s fevered memories are not only superb dance technicians but also charismatic actors who engage the audience with immediacy and raw emotion. They draw us into the ebb and flow of relationships – between Nijinsky and those in the world around him as well as Nijinsky with the troubled and sensitive inner world of the man himself.

The cast is impressively large and the sets are simple, but effective, relying strongly on Cubist primary colours and geometric shapes. Only the first and the last scene make use of a realistic villa-style intimate performance space. A stirring score of emotion-charged music from Chopin, Schumann, Rimsky-Korsakov and Shostakovich heightens the dramatic intensity – this is powerful stuff.

Neumeier combines the classical ballet tradition from which Nijinsky emerged and the modernist breakthroughs which he introduced. The broad spectrum of Nijinsky’s career is a juxtaposition of various moods and forms of dance: white ethereal visions from Les Sylphides; splashes of jewel colours and a gold-clad Nijinsky in Shéhérazade; the purity of Mariinsky Theatre ballerinas contrasting with the distinctly ‘camp’ and barely covered nymph from Spring and the uninhibited animalistic faune.

Neumeier’s Nijinsky is a living portrait capturing a man whose consciousness was a rich tapestry of memories, hallucinations, symbolic myths, hardened realities and emotional hardships.  This portrait continues to entrance audiences today as it did with Brisbane’s QPAC theatre, culminating in a rapturous standing ovation and no less than 5 curtain calls.

Photo: Hamburg Ballet’s Alexandre Riabko and Silvia Azzoni by Holger Badekow

By Elizabeth Ashley.

QPAC and Events Queensland in association with the Brisbane Festival continue to present challenging, innovative dance companies and their works to an Australian audience.

This year we have the pleasure of seeing for the first time in Australia, The Hamburg Ballet under Artistic Director, John Neumeier. The company will perform two ballets at the 2012 festival – Nijinsky and A Midsummer Night’s Dream.

Also on his first visit to Australia is Lloyd Riggins, an American who has lived and danced in Europe for 25 years, 17 of which working closely with Neumeier as Principal dancer and from 2006, as Ballet Master. From his home in Hamburg, Riggins enthusiastically talks to Dance Informa about the Hamburg Ballet, and the world-renowned recognition it owes to the artistic vision and sensibilities of Neumeier.

Since 1973 Neumeier, has kept the Hamburg Ballet at the forefront of international audiences, creating works not only for the Hamburg Ballet but also for such diverse companies as the Paris Opera Ballet, the Bolshoi Ballet, Britain’s Royal Ballet and the Royal Danish Ballet.

Riggins describes Neumeier’s pedigree as combining creativity, energy and humanity. He creates ballets that allow audiences to recognise themselves on stage and question their own responses, thus demonstrating that the myths of ballet can be both universal and timeless. Riggins cites the German word ‘Hingabe’, meaning devotion, commitment and indulgence – this is what Neumeier inspires in his dancers.

A second strand shaping Neumeier’s artistic vision is a respect for and love of dance history. Riggins explains, “Neumeier’s apartment is an enormous museum and library including a large collection of Nijinsky memorabilia.” No surprise that fundamental to Neumeier’s ideology is a key question, ‘How can you create something new unless you know where you have come from?’

In Riggins’ words, “Neumeier’s knowledge of the past is a vital part of the air with which we (the company) breathe. Drawing his influence from historical ballet, everything is interwoven, giving a solid support and interconnectivity. It’s all a big melting pot.”

Neumeier’s passion for history, including his particular passion for the Ballets Russes and the figure of Nijinsky, underpins the works to be presented at the 2012 Brisbane Festival. Although both classics, A Midsummer Night’s Dream and Nijinsky were chosen to demonstrate the great range of the company as well as its bridge of development.

Riggins explains that Nijinsky is a ballet juxtaposing the famous Nijinsky roles in order to establish the different aspects of the man himself, from the sensual to the androgynous to the erotic to the brilliance of madness. “Each ballet has its own vocabulary so we need to set the mood and start to speak in relation to that, gaining a sympathy for the man and his sensibilities.”

Petrouchka for example, which Riggins has been performing since the early 2000’s, portrays a tragic and sensitive soul – Nijinsky broken after his split with the Ballet Russes, silently screaming at the war, the loss of humanity, trying to stop the chaos around him.

Nijinsky’s solo in Petrouchka has been recreated as faithfully as possible from archival information. The music of Shostakovitch, which includes the theme of war, sets the mood for a poetic stream of consciousness style of dance – it is also the starting point for Petrouchka’s distinctive hand movements, integral to the fabric of the ballet. The late Australian dancer, Paul de Masson in his capacity as Hamburg Ballet Master, worked with Riggins on the Petrouchka solo, in particular the hand gestures.

The second work to be presented at the Brisbane Festival will be Shakespeare’s great comedy A Midsummer Night’s Dream. This is one of the Hamburg Ballet’s most popular works, performed innumerable times around the world and demonstrating Neumeier’s ability to interpret classical works through variations in the music and narrative.

Using the three main strands of scenery, music and dance, Neumeier weaves a sumptuous and often hilarious A Midsummer Night’s Dream. He combines the wit of court life with ethereal fairy glens and ribald street comedy whilst distinguishing each strand with its own unique dancing style shaped by the composers Mendelssohn, Ligeti and familiar barrel organ folk tunes.

I ask Riggins what Australian audiences might expect of the Hamburg ballet, but he turns the question around – “it’s more about us, the dancers, doing as much as we can to reach the audience through this process of communication.”

But knowing Australia’s reputation for openness he does believe that we’ll be the perfect audience, “The more openness the better…with fewer preconceptions; more surprises. There are always surprises in John’s ballets.”

Riggins’ infectious passion and enthusiasm for the work of the Hamburg Ballet leaves me impatient for them to take the stage. See the Hamburg Ballet performing from August 26th to September 5th at the Queensland Performing Arts Centre.

Photo source: www.qpac.com.au

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.

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