By Rain Francis.

Two of New Zealand’s finest dancers, Ursula Robb and Nadine Tyson are teaching at tertiary level back in their home country this year. Ursula Robb spent more than a decade in Europe, dancing with Rosas, Ultima Vez and Zoo. In 2011, she worked as rehearsal director with the Paris Opera Ballet and danced with the New Zealand Dance Company in their first season. Auckland dancer Nadine Tyson joined the Royal New Zealand Ballet in 1995. She danced many pivotal roles as a soloist during nine years with the RNZB and has recently been invited to teach the company. Both graduates of the New Zealand School of Dance, Ursula and Nadine are returning to join the school’s faculty, teaching the current students in 2013.

The New Zealand Dance Company will be holding two stages of auditions for 2013 and 2014 projects for professional dancers, secondments and internships. Stage one is on Saturday February 23rd in Auckland. Stage two applicants will be invited to stay further and attend a two-week development workshop until March 11th. To apply to audition, email the Artistic Administrator Rachel Atkinson at rachel.atkinson@nzdc.org.nz. Include a cover letter, CV, minimum of one reference and photo by February 15th.

New Zealand’s leading contemporary dance company, Black Grace, has held a unique position on the world stage for over 17 years. Fusing Pacific and contemporary dance, the company has become internationally renowned for its artistry, creative excellence and innovation. Black Grace has been touring to North America since 2004 and is returning for a nine-centre tour this month. Founding Artistic Director and Choreographer Neil Ieremia will share three outstanding works, Pati Pati, Amata, and his latest full-length work, Vaka.

Exploring the idea of a raft as a metaphor for hope, Vaka is inspired in part by The Raft video installation by Bill Viola, as well as a response to The Arrival of the Maoris in New Zealand by Louis J. Steele and Charles F. Goldie, influenced by Theodore Gericault’s famous The Raft of the Medusa. Excerpts of Vaka received standing ovations and rapturous applause in Europe.

To kick off celebrations for its 60th anniversary, The Royal New Zealand Ballet launches three world premieres in Made to Move this month. Ethan Stiefel’s first original work for the company, Bier Halle, brings the exuberance of the Bavarian beer hall to the St. James Theatre. Choreographer Javier De Frutos arrived from London to create his third work for the RNZB, The Anatomy of a Passing Cloud, inspired by the Pacific and serving as an exciting follow-up to his award-winning Milagros (2003) and Banderillero (2006). Former company member Andrew Simmons, creator of 2010’s beautiful A Song in the Dark, travelled from his home in Dresden to complete the trio of world premieres with Of Days.

Five medals were awarded at December’s Genee Awards, held at the St. James Theatre in Wellington. Three of those medals went to Kiwis. The winner of the girls’ Gold Medal was Montana Rubin (15), from The Dance Spot in Sydney. Two Silver medals were awarded – one to Kaena Ahern (17) and one to Ariana Hond (16), who also won the Audience Vote. Kaena and Ariana are both from Auckland’s Mt. Eden Ballet Academy. The boys’ Gold went to Aurelian Child-de Brocas (15), a Kiwi who studies at the Alegria Dance Studios in Sydney. Harry Davis (17), from Melbourne’s Victorian College of the Arts Secondary School, took the Silver. This year’s Awards were judged by David McAllister (Artistic Director of the Australian Ballet), Li Cunxin (Artistic Director of the Queensland Ballet) and Christopher Hampson (Artistic Director of the Scottish Ballet).

Pointy Dog Dance Company is a youth contemporary dance company based out of TAPAC in Western Springs, Auckland. Pointy Dog is an opportunity for 14-18 year olds who are excited about dance to gain technical, creative and performance skills and work with professional dancers, choreographers and creative practitioners. Auditions for the 2013 company will take place at TAPAC studios, located at 100 Motions Rd., Western Springs, Auckland, at 5 p.m. February 8^th. All interested dancers aged 14-18 years are encouraged to audition irrespective of their current level or experience. For more information or to register for the audition, visit pointydogdance.zohosites.com or email pointydogdance@gmail.com.

Audiences can experience the freshest Māori contemporary dance at Auckland Arts Festival 2013 by joining Atamira Dance Company for HOU 2013 – Choreographic Development Season.  In HOU 2013, three of the country’s best Māori contemporary choreographers will thrill audiences with the ihi, wehi and wana (energy, power and awe) of contemporary dance theatre at this special event at Henderson’s Corban Estate Arts Centre. Auckland Arts Festival 2013 is helping to bring Atamira’s growing annual creative development programme, Hou (new), to the widest possible audience. Audiences can also learn about the choreographic process by attending a creative Q & A session following each performance. Check out www.aucklandfestival.co.nz for more details.

Photo (top): Black Grace.
Artistic Direction: Neil Ieremia
Photography: Duncan Cole

By Rebecca Martin.

After all the blood, sweat, tears, hairspray, blisters, bruises, melt downs, costume changes and fun, it’s time to graduate from full-time dance training.

Now what?

You may have dreams of Broadway or West End, Paris Opera Ballet or The Australian Ballet, the world stage or opening your own dance school, but it’s unlikely that you’ll be able to achieve these dreams straight out of training.

Here are some tips to help you reach your dreams.

Get experience – Loads of it

Fill your CV with as many different things as possible, and say yes to every opportunity that comes your way. Saying yes to job offers can strengthen connections with key industry players who can get you a step closer to your ultimate dream.

For all the thousands and thousands of dancers in Australia that want a job in their industry, very few of them will be fortunate enough to earn a living from dancing. There are limited companies with limited places, and directors want a performer that has treaded the boards a few times and can be relied upon to carry a show and handle the strenuous life of performing.

Get an agent

Many auditions are by invite only and must be done through an agent. Find yourself a good agent who knows your strengths and weaknesses who will source work for you.

Think outside your comfort zone

If you’ve trained in ballet, consider musicals.  Phantom of the Opera has roles for ballet dancers. If you’ve trained in jazz, take some acrobatic classes and audition for a cruise ship. Consider working behind the scenes in choreography and production. Audition for TV commercials and TV shows. Teach other dancers, perform at theatre restaurants, try character roles at Movie World and other theme parks around the world, put on your own show, travel, experiment, don’t stop learning and don’t turn down any opportunity.  You don’t know where it may lead.

Dance Informa spoke to some dancers who have had varied and fulfilling careers since graduating from full-time dance schools:

Hayley Uberti
Graduate of The Space Dance and Arts Centre

What are some of the things you have done since graduating?
Since graduating I have been very fortunate to be able to work with some great choreographers and experience different performance avenues. I have worked for Grayboy Agency (William Forsythe’s choreography) on a Princess Line Cruise Ship that sailed the world, I have been a part of three pieces performed by Vertical Shadows that were directed and choreographed by Stephen Agisilaou, [and] performed in various corporate shows, events and video clips. I have had small acting roles with Opera Australia, short films and TV commercials and worked around Australia and Singapore with suit work contracts. I have been teaching for over 10 years and have recently ventured into professional choreography, including corporate events and fashion shows.

What advice do you have for new graduates who are embarking on a dance career?
Be patient, attend as many auditions as possible to gain experience and expose yourself to various choreographers who may not cast you today but will always remember faces. No doubt you will come across them again.

Don’t let your full-time training go to waste, keep up classes and commit yourself to continually building your craft and keeping in shape. Keep those ballet classes up!

Robert Kelly

Robert Kelly
Graduate of Western Australia Academy of Performing Arts

What are some of the things you have done since graduating?
While training at WAAPA I was fortunate enough to take an original piece I created to rural areas in Western Australia. Then later I danced in the corps de ballet with West Australia Ballet.

After Perth I went on to dance as a guest for the National Theatre Ballet School in Don Quixote and Le Corsaire, both of which went on tour all around Victoria. I ended up dancing in three other touring companies in Australia all of which were a great artistic experience and also a paid experience…which is not so easy to find these days.

I have taught company classes and student workshops for people from all over the world. I’ve also created major works locally and overseas to audiences of more than 2000 and was employed by the Catholic Church to create a surprise work for a congregation.

Aside from being a dancer I’ve been a choreographer, teacher, costume designer and director of my own company.

What advice do you have for new graduates who are embarking on a dance career?
If you start with an open mind but a solid discipline you can kick a few goals. Most importantly be fair to those who were even 50 percent as fair to you.

If new graduates are planning to use their Bachelor of Arts, Diploma of Dance or Diploma of Education for a career in Australia they are on solid ground for entry into arts psychology, physiotherapy or other positions that are not directly movement related.

Always be polite in the audition process to everyone. Use this opportunity to make friends, contacts and evaluate situations. The dancer has to be out for themselves first and foremost as it is a ‘cut-throat’ industry but that does not mean that you can’t make a good friend or two.

Katie Hurst-Saxon

Katie Hurst-Saxon
Graduate of International Ballet Academy NZ

What are some of the things you have done since graduating?
After graduating at 16 I was offered a contract with the Royal New Zealand Ballet straight away. By the age of 19 I had my first Principal role. I spent nine years with RNZB, dancing many lead roles and also different styles of dance. Along with the pure classical ballets we performed, we also did a great amount of contemporary and neoclassical works. After nine years I decided I needed a break, so I headed back home to Christchurch and did a bit of teaching. I choreographed a few dances for students doing competitions too. After about a year I realised that I did still want to dance and I have been freelancing for the past year. I did Angelina Ballerina with RNZB (as Angelina), Giselle with Melbourne Dance Theatre (as Giselle) and am now rehearsing for the Australian Conservatoire of Ballet’s Sleeping Beauty (as Carabosse and Aurora.)

What advice do you have for new graduates who are embarking on a dance career?
Don’t give up! It’s likely that you’ll have rejection and criticism thrown your way, if you let that get you down you’ll have trouble surviving in this world. Use the bad to make you even stronger. Be strong, be confident, know what you want and don’t stop till you’ve done everything you can to get it.

Jayden Hicks

Jayden Hicks
Graduate of The Space and Ministry of Dance

What are some of the things you have done since graduating?
In the past two years since graduating I have performed with Vertical Shadows (Release The Stars and On The Rocks), in Stage Art’s production of Matalor, completed a secondment with Chunky Move for Keep Everything, toured with Melbourne Ballet Company in On Air and Infinite Space, was a featured dancer in Quirky Productions’ La Cage Aux Folles, performed in the burlesque piece Holy Ship at Red Bennies, appeared in a music video for singer Sam Burke and performed in Industry Nights’ Immersed and Underground, as well as Short and Sweet: Dance. 

I teach for The Space, Jason Coleman’s Ministry of Dance, Elevator Studios, Gippsland Academy of Dance, Vicki’s Dancing Academy, Backstage Dance Studio, Pole Divas and Volar Dance Centre. I also do dance and aerial consulting including silk, hoop, pole and dance collaboration.

What advice do you have for new graduates who are embarking on a dance career?
Don’t try to follow in someone else’s footsteps. The beautiful thing about the dance industry is that there is no right or wrong way to succeed. There is no set direction that you must take once you graduate. Keep expanding your knowledge of dance and the dance community and find your own way to success. Also don’t pigeon hole yourself into a stereotype. The more versatile you are the easier it will be to find work.

Gina Brescianini

Gina Brescianini
Graduate of McDonald College and The Australian Ballet School

What are some of the things you have done since graduating?
I have opened my own yoga centre called Radiant Awakening in Sydney where I teach Kundalini Yoga and Pilates. I also teach ballet to adults at Sydney Dance Company studio. I teach ballet, yoga and Pilates to the senior students at McDonald College and ballet and Pilates at Dorothy Cowie School of Dance.

What advice do you have for new graduates who are embarking on a dance career?
Give it all you’ve got everyday. Learn as much as you can from all teachers, choreographers and dancers. Have fun and enjoy it, stay focused and know that we all have good days and bad days and it is all worth it!

Samantha Dodemaide

Samantha Dodemaide
Graduate of Patrick Studios Australia

What are some of the things you have done since graduating?
You name it, I’ve most probably given it a red hot go. My ultimate dream was always to be a musical theatre performer, but I knew this was also the dream of many others and that it would take a lot of hard work (even after I had finished three years of full-time dance training). So after graduating I made sure I didn’t stop training, made sure I was attending dance class and singing everyday, taking acting lessons and working hard at the gym.

I was lucky enough to land a job performing at Witches In Britches theatre restaurant, as part of their five-person comedy show (which allowed me to sing, dance and act.) I also landed a few small-scale jobs both here and overseas, fashion parades, club free styling, kids’ shows such as A Looney Tunes Christmas in Singapore and touring pantomime shows of Cinderella and Sleeping Beauty.  I travelled to Dubai multiple times as part of a cheerleading team for the Dubai Rugby 7’s Tournament. I was working for a children’s musical theatre school teaching dance and drama most nights of the week.

Throughout all of this I was attending multiple musical auditions but couldn’t seem to break my way in. Then after what seemed like an eternity it finally happened. Since landing my first show which was Wicked at Universal Studios Australia I have also now performed in Anything Goes, The Producers and A Chorus Line. Most recently I have been performing alongside Geoffrey Rush in A Funny Thing Happened on the Way to the Forum.

What advice do you have for new graduates who are embarking on a dance career?
Follow your dreams and they will come true! I truly believe you can make anything happen if you put your mind to it. As long as you are patient, work hard, and are 110 percent committed to your craft you cannot fail. You can never stop improving, and the more time and energy you spend improving yourself, the more success you will have.

Top photo: Dancer Katie Hurst-Saxon

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

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

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

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

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

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

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

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

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

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

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

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

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

Top photo: Dancer Huang Jun Shuang

By Rain Francis.

The New Zealand School of Dance class of 2012 has been successful in securing the following contracts for 2013: Brydie Colquhoun – Black Grace; Chloe Einicke – West Australian Ballet; Samantha Hines – Australian Dance Theatre; Laura Jones – Royal New Zealand Ballet; Simone Lapka – Douglas Wright; Jia Xi Lee – Singapore Dance Theatre; Gareth Okan – New Zealand Dance Company; James Pham – Chunky Move; Luis Piva Junior – Singapore Dance Theatre; Matte Roffe – Australian Dance Theatre; Andrew Searle – Dancenorth.

Congratulations to all graduates and all the very best as you embark on your performance careers!

The New Zealand Dance Company is hosting an international exchange with Chicago based dance theatre company Lucky Plush Productions. This Professional Devising Workshop comprises of a morning technique class followed by two devising sessions, where participants will work with the Lucky Plush company members in their devising process. The workshop is suitable for actors, dancers and physical theatre artists at tertiary and professional level.

Luis Piva Junior in Loughlan Prior’s ‘Verse’ for New Zealand School of Dance Graduation Season 2012. Photo by Stephen A’Court.

Lucky Plush Productions will bring its distinctive devising process to Auckland’s dance and theatre communities as they begin creative research for the company’s second collaboration between Artistic Director Julia Rhoads and theatre director Leslie Danzig. This research populates classic physical comedy routines with different bodies and invites workshop participants to experience a contemporary reworking of this material. Through exploration of various research questions, the work considers how bodies generate and defy comedy, and how this classic physical comedy form can be opened up to a complex and lush choreographic language that speaks both viscerally and intellectually to audiences.

To find out more, email classes@nzdc.org.nz or visit www.nzdc.org.nz

Atamira Dance Workshop is a new contemporary dance and choreography workshop offered at Corban Estate Arts Centre’s Summer School 2013.  The workshop will be taught by the professional Maori Dance Company Atamira, who will share dance exercises inspired in their Kaha show and introduce some techniques for creative dancing. Whether you are interested in finding inspiration to innovate in your dance repertoire or just learning new steps, this workshop is for you!

Atamira will ignite new ideas by leading dance exercises and setting choreographic tasks that use dance to stimulate creativity. Dancers will practise some of Atamira’s repertoire and choreographic skills based on the arts of moko (body tattoo), kowhaiwhai (painting) and raranga (weaving) designs, and explore how contemporary art can be used to create new  choreography.

Location: Corban Estate Arts Centre. 2 Mt Lebanon Lane, Henderson
Dates: Mon 14 – Wed 16 January, 10am – 12.30pm
Fee: $65

Find more information at www.ceac.org.nz. Dance teachers, tutors and lecturers will receive a 10% discount on the course fee!

Top photo: Julia Rhodes from Lucky Plush Productions in Punk Yankees.

By Rain Francis.

From 28 January to 1 February 2013, The New Zealand Dance Company is hosting an international exchange with Chicago-based physical theatre company Lucky Plush Productions, known for its witty commentary on contemporary culture and artful integration of dance, theatre and visual design. The weeklong workshops will be held at the Unitec Dance Studios in Mt. Albert, Auckland. Check out www.nzdc.org.nz/node/opportunities/ to download the flyer and registration form.

NZDC is also seeking expressions of interest from graduate choreographers who can do workshop choreography on The New Zealand Dance Company’s Youth Engagement Programme dancers, plus any experienced senior and mid-career choreographers interested in making work on the company between 2013 and 2015. For more information about what is required visit www.nzdc.org.nz/node/opportunities/.

Aucklanders will be able to learn some dance moves for free at the Unwrapping Christmas festival held in Aotea Square this month. Bandstand under the Stars gives locals the chance to get dressed up, put their dancing shoes on and learn salsa, bollywood, swing, Celtic ceilidh and ballroom – all under the stars! For more information, visit www.the-edge.co.nz.

The Dance and Physical Theatre Trust is seeking to appoint a Project Coordinator to join the team in Christchurch in 2013. This full-time role splits into three main areas of work, covering The Body Festival, Schools Projects and The South Island Dance Network. Usual office hours are 9 a.m. – 5 p.m. Monday to Friday, though evening and weekend work will be required in the lead up to and during events. To apply for this position, email a letter of application along with a comprehensive CV to Artistic Director Adam Hayward at adam@thebody.co.nz by December 20, 2012.

Andrew Bowman (Albrecht) and Antonia Hewitt (Giselle) from Royal New Zealand Ballet. Photo by Evan Li

After 18 months of preparation, The Royal New Zealand Ballet’s TelstraClear Season of Giselle opened to a rapturous reception in November, and is now touring nationally. Giselle is being made into a feature film, directed by award-winning New Zealand director Toa Fraser and produced by Matthew Metcalfe, with the support of the New Zealand Film Commission. Although some footage will be captured at performances, the dancers will be returning to Wellington at the conclusion of the Giselle tour for extra filming at the St. James Theatre.

The company will have two weeks off for Christmas, and then it’s back to work on  January 3, 2013 to start rehearsals for Made to Move, three brand new ballets created by Javier de Frutos, Andrew Simmonds and Ethan Stiefel.

Malia Johnston had been appointed to the position of Director of Footnote Dance in July 2012. She was to transition into the role until the end of April 2013, before Deirdre Tarrant handed over the reins fully, following the Forte Season of a new work by Lisa Densem. Unfortunately, for personal reasons Johnston is now unable to take on the role of director. Footnote will continue with its planned programme for the New Year under Deirdre’s direction. In the meantime, the board will be looking at options for the best way forward for Footnote.

Top photo: New Zealand Dance Company’s Youth Engagement Programme (YEP!)

By Rain Francis.

Second Echo Ensemble, a Tasmanian group of 10 young actor/dancers with and without disabilities headed to New Zealand last month, where they teamed up with New Zealand’s premier disability dance company Touch Compass. The two groups presented a double bill titled Seamless at the Tempo Dance Festival in Auckland.

Before Second Echo’s departure, Australian Prime Minister Julia Gillard sent them a note of support, saying “This is such a wonderful opportunity to showcase the talents of these gifted young people and the sense of possibility that has unfolded in their lives. I therefore warmly congratulate the members of the Second Echo Ensemble. I wish them safe travels and all the best for their… performance.”

Second Echo Ensemble’s Sally Davis and Charlie Smith. Photo by Iain Lang

Expressions of interest are now open for the Tempo 2013, New Zealand’s dance festival held at Q Theatre. Tempo is tentatively scheduled for October 6 – 13, 2013. For an expression of interest form, contact carrierae@tempo.co.nz .

The Auckland Arts Festival 2013 has just been launched, with some very exciting dance, circus and cabaret acts announced. Kiwis can look forward to the revolutionary circus experience Circolombia (Colombia), as well as a stunning dance-theatre production from leading European choreographers Sidi Larbi Cherkaoui and Damien Jalet. The Royal New Zealand Ballet will present three brand new works that celebrate the joy of dance; the triple bill encompasses works by Javier de Frutos, Ethan Stiefel and Andrew Simmons. Also highly anticipated is the funny, astonishing and deeply touching work Leo from German group Circle of Eleven.

A new, on-demand web-based dance channel was launched last month. Crash2Create is focused on promoting the New Zealand street dance scene. It will be releasing footage and trailers of some of the latest street dance events from around New Zealand, and keeping viewers up to date with the latest happenings in the Kiwi street dance community. Crash2Create will also release exclusive interviews with local and international dancers in the street dance community. www.crash2create.com

The Royal New Zealand Ballet are celebrating 60 years next year and have recently launched an exciting 2013 season. After the Made to Move triple bill, which features in the Auckland Arts Festival, the company will embark on a five-city tour of China. The centre-piece of the 60^th celebrations will be the iconic Swan Lake, and the company will round off the year with a 46-centre tour of heartland New Zealand.

The New Zealand Dance Company is now finalising its 2013 plans, which will include a tour and the premiere of a new work. Their first show, Language of Living will tour the North Island and perform a return Auckland season in May/June 2013. Dates and locations will be announced soon. The company is now accepting expressions of interest from both graduate and experienced choreographers interesting in creating new works. For more details visit www.nzdc.org.nz.

Photo: Royal New Zealand Ballet. Photo by Ross Brown

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

Our favourite mouse, Angelina Ballerina has returned to Australia by popular demand. Performed by the Royal New Zealand Ballet, Angelina Ballerina’s Big Audition is the perfect introduction for children to the magical world of dance.

Angelina Ballerina’s Big Audition takes audiences on the next step of Angelina’s journey to become a prima ballerina as she prepares to audition for the prestigious Camembert Academy.  This production follows the hugely successful Angelina’s Star Performance.

Angelina Ballerina has been a much-loved children’s character since 1982. Inspired by original illustrations and stories by Helen Craig and Katherine Holabird, Angelina Ballerina’s Big Audition features Royal New Zealand Ballet dancers performing to a recorded arrangement of Tchaikovsky’s music.

The performance is choreographed by the English National Ballet’s Antony Dowson with costumes, based on the original Angelina Ballerina drawings by Wizzy Shawyer, and set designs from Al Riches.

Angelina Ballerina’s creators said that the stage show has real sparkle and magic. “We attended Angelina’s performances several times, and thought it was absolutely beautiful and wonderfully funny. This sparkling and original ballet is a magical theatrical experience for young and old alike,” said creators Helen Craig and Katharine Holabird.

Caught up in Angelina Ballerina’s magic, Dance Informa spoke with some Royal New Zealand Ballet’s star performers.

You’ve toured to Australia for this production. What’s your favourite thing about touring?

Tarrah Burns
I’ve never toured before, so this is something new and exciting for me, but I’m really excited about visiting all the beautiful and amazing locations across Australia and New Zealand.

Matthew Carey
Getting to see new and interesting places.

Rebekha Duncan
Getting the opportunity to be able to perform in new locations and to different audiences.

Where did you train?

Tarrah Burns
New Zealand School of Dance and Victorian College of the Arts Secondary School.

Matthew Carey
Australian Ballet School and Western Australian Academy of Performing Arts.

Rebekha Duncan
New Zealand School of Dance

Angelina Ballerina brings children’s stories to life on stage. What’s your favourite children’s book?

Tarrah Burns
Harry Potter. I was the same age as Harry, Ron and Hermione as the books were being published, so we practically grew up together!

Matthew Carey
Harry Potter!

Rebekha Duncan
The Winnie the Pooh series.

In Angelina Ballerina you have to dance as mice. What are your favourite animals?

Tarrah Burns
Meerkats! Ever since I was young and watched Timon on the The Lion King, they have always been my favourite!

Matthew Carey
The albino Peacock, it’s so beautiful and majestic.

Rebekha Duncan
Chihuahuas, as they are tiny and easily transportable.

Angelina Ballerina delighted Sydney audiences in late December and is now touring to Brisbane and Melbourne for January performances.

Brisbane
January 7-13
Playhouse, QPAC
www.qpac.com.au

Adelaide
January 17-21 
Adelaide Festival Centre, Dunstan Playhouse
www.adelaidefestivalcentre.com.au

Melbourne
January 24-28
The Arts Centre
www.artscentremelbourne.com.au

Canberra
February 1-4
Canberra Theatre Centre
www.canberratheatrecentre.com.au

Photos by Patrick Baldwin

One of the world’s most acclaimed dancers has been appointed Artistic Director of the Royal New Zealand Ballet.

Ethan Stiefel – currently a Principal Dancer with American Ballet Theatre (ABT) and Dean of The School of Dance at the University of North Carolina School of Arts – will take up the position next year.

‘This is a huge coup for the RNZB,” said RNZB General Manager Amanda Skoog. “Ethan is one of the most talented dancers currently performing in the world, but on top of that, he’s a fantastic teacher and I have no doubt he will not only be an inspiring mentor but he will lead the RNZB to a new level of recognition and excellence.”

Stiefel, who is currently based in New York City and Winston-Salem, North Carolina, said he is looking forward to building on the RNZB’s excellent reputation while at the same time “seeking to be a fresh, innovative and inspiring leader for the RNZB“. 
 
Born in Pennsylvania, Stiefel has a close affinity with New Zealand – his grandmother was born and raised in Christchurch and he has relatives in Invercargill and Manapouri.

Stiefel, whose dance repertoire features an extensive list of lead roles in both classical and contemporary ballet, began his dance training at the age of eight in Madison, Wisconsin. His early teachers included Paul Sutherland and Ted Kivitt. He continued his studies at Marcia Dale Weary’s Central Pennsylvania Youth Ballet. He was awarded a full scholarship at the School of American Ballet, where he studied under Stanley Williams and then studied with Mikhail Baryshnikov at his School of Classical Ballet. Stiefel began his performing career at age 16 with the New York City Ballet where he quickly rose to the rank of Principal Dancer. He was also a Principal Dancer with the Zürich Ballet and joined American Ballet Theatre as a Principal Dancer in 1997.

During his career, Stiefel has performed as guest dancer for some of the most renowned companies in the world including The Kirov Ballet, The Royal Ballet, The Australian Ballet and the New York City Ballet.

The 37 year old – who starred in the hit movies Centre Stage (directed by Nicholas Hytner) and Centre Stage 2, Turn it Up, will begin his role with the RNZB on 1 September after taking care of his existing commitments with ABT and the School he directs.

Stiefel said he and partner in life Gillian Murphy, also a Principal Dancer with American Ballet Theatre, were looking forward to the new adventures his appointment would bring.

“I also look forward to connecting with my relatives living in New Zealand today and, being a sports enthusiast with Kiwi blood, to supporting the All-Blacks!”, he said.

Stiefel was appointed after an extensive international recruitment process. “The calibre of applicants from both New Zealand and overseas was extremely high,” said RNZB Board Chair, Anne Blackburn. “Ethan shone through in all areas, impressing the interview panel with his vision for the RNZB and his commitment to the art of ballet.”

Both his background as a dancer and his experience as Dean of Dance at the University of North Carolina School of Arts made him the ideal choice, Blackburn said.

“This is a very exciting time for the RNZB. Ethan has an outstanding reputation internationally and we are ecstatic he has accepted the position of Artistic Director.”

Watch Ethan Stiefel in one of his famous scenes from Centre Stage!

Article direct from www.nzballet.org.nz
Top photo: Ethan Stiefel at ABT Studios, New York. Photo Rosalie O’Connor

Aotea Centre at THE EDGE, Auckland
July 8^th  

By Grace Edwards.

Set to Georges Bizet’s energetic score, The RNZB’s latest production of Carmen is a contemporary adaptation of the opera, which was premiered in 1875. This version is set in the heat of Rio de Janeiro, but the plot is essentially that of the original: Carmen, a sexy and rebellious cigarette factory worker, exercises her powers of seduction upon the hapless José, whose life is forever changed for the worse. The tragic ending is played out in the seedy Bar Pastia.

Orchestrator John Longstaff compensates for the absence of singers with solo instruments that capture the vocal qualities of the operatic arias, among them the well-known Habanera and Sequidilla. Thanks to the impeccable timing of the Auckland Philharmonia Orchestra, who make light work of some tricky but crucial transitions, even love rival Escamillo’s rock star turn in this adaptation makes musical sense.

Didy Veldman’s choreography does not replicate nor ignore the score; instead it engages it in a musically intelligent and dramatically satisfying dialogue. Inventive lifts and seductive gestures are married with classical vocabulary and comic timing in a sound alliance, which the dancers embrace with admirable gusto and dramatic flair.

The pas de deux scenes between José and his forsaken fiancée Micaela are beautifully handled, and the love-making scene between Carmen and José proves the highlight of he evening. The sexualised masculinity of Escamillo’s rock persona proves an intriguing match to Carmen’s own heightened sexuality, though Carmen remains the true power-broker in their relationship. Though some of the male corps de ballet scenes, in which the men play gangsters clad in leather jackets with shades and mobile phones, are somewhat cliché, the dancers’ sense of fun partially rescues them.

Michael Braun as Jose and Pieter Symonds as Carmen

It is with regret, that due to my time constraints, it was not possible to view the opening cast, which featured dancer Abigail Boyle in the lead role. Guest artist Pieter Symonds captured Carmen’s aloofness well and there was good chemistry between the two leads, which is to be expected in a dancer of Symonds’ calibre. Referring specifically to the portrayal of Carmen, however, a greater articulation of the limbs and freedom of movement would have lifted the interpretation to an even higher level.

Overall, the RNZB’s Carmen is a production of which the company can be proud. Whilst it is not as cutting-edge as some would like, it does maintain an invigoratingly contemporary aesthetic without sacrificing the essence of the original or indeed the appeal of classicism. The RNZB should be applauded for offering its audiences the chance to experience works beyond the classical canon.

The Royal New Zealand Ballet’s Meridian season of Carmen has now finished. However, the company will be crossing the ditch in August to present Romeo and Juliet. The dates and venues are:

Canberra – Canberra Theatre Centre
Tuesday August 10^th – Saturday August 14th

Wollongong – IPAC
Tuesday August 17^th – Sunday August 22^nd.

For more information visit: www.nzballet.org.nz