By Grace Edwards.

It goes without saying that in order to have a successful career in ballet, a dancer must eventually meet, if not transcend, the expectations of the directors who will employ them. Teachers shoulder the heavy responsibility of preparing their dancers for this eventuality. So how do those at the top of the field help their elite dancers to achieve this goal?

“Whether or not I like what’s going on in the ballet world, which I do, it’s making sure your dancers are quite up with the rest of the world,” says Leeanne Rutherford, Director of Ballet Theatre Australia.

Renowned ballet teacher Tanya Pearson of the Tanya Pearson Classical Coaching Academy believes that for better or worse, dancers must be trained to meet the ever increasing physical demands of the art. “The dancers nowadays are much more flexible and that’s demanded by choreographers. When I was training we were more musical and artistic. That was the emphasis then, not high extensions, but now at the moment there’s a trend towards that. Ballet has become a little more gymnastic.”

Pearson, however, emphasises artistry and the importance of interpreting roles to help her students stand out in the crowd amongst the many technical wizards churned out by ballet schools across the globe. In this way she reconciles her own teaching philosophy with the evolving standards of the art and believes that this has helped her dancers achieve success in international competitions such as the Youth America Grand Prix.

Apart from possessing a suitable physique and sufficient facility, the ability to coordinate steps easily, a high level of maturity and a ‘safety blanket’ of good grades are all crucial to a ballet student’s chances of professional success. However, some full-timers do transcend these ‘cookie-cutter’ prescriptions to be accepted into their courses. “Some students just have the ability to work on a regular basis,” says Rutherford. “It’s not a struggle, they’re just meant to do it. It’s like a calling for them.”

To help such talents, Beth James, Director of the West Australian Conservatoire of Classical Ballet avoids focusing too squarely on technique. “Jobs are vast, however, the dancers need to be in a good position to take them,” she says.  “It’s not just always the technique that’s going to make it there, it’s the whole package more so now. I try to help dancers in a more holistic way, to strengthen not only their bodies but their minds and their emotions as well. Organisational skills also need to be looked at.”

She points to self-belief as one of the most formidable but least talked-about obstacles to a young dancer’s success. “It’s learning to accept that although in their mind’s eye they need to be perfect, we are okay with them not being perfect and know that they are going to learn from their mistakes,” says James. “We respect that they are still above and beyond the acceptable range.”

Sonya Shepherd teaches Certificate II & III students at Charlesworth Ballet Institute. Dancer Charlotte Price (foreground) is now studying in Amsterdam. Photo by Darren Clark.

“Ballet’s got a bad rep for being a negative environment, so it’s about trying to turn that around,” concedes Briana Shepherd, who teaches at the Charlesworth Ballet Institute. “It’s actually quite hard. I mean, I often find myself being quite negative and I have to turn around and go, ‘Okay, would you want to hear it this way?’ You have to pay attention to how the students receive the corrections too, because everyone learns differently.”

At the Charlesworth Ballet College, the Institute’s professional programme, dancers are schooled in both academic studies and ballet. The college therefore takes on much responsibility for the overall development of their elite students as they enter their teen years. “Sometimes they want to go out, or they just don’t want to do it. But it’s making them understand that if they want a career they have to put in the hard work now,” says Shepherd. “I try to nurture the passion, to have them understand that yes, it is a lot hard work, physically and mentally, but it can be a very rewarding career path.”

Whilst finding ways to address the differing strengths and weaknesses of each student, teachers must also keep in mind the likely demands of their future employers. Tanya Pearson tries to tackle both by exposing her students to different methods of training such as Vaganova, RAD and Cecchetti.

“Each day we have a different teacher, male and female, and they’ve all been trained from different backgrounds. I feel that the exposure to these different styles will help them to follow any teacher that they may strike in an open situation. We also expose the students to regular performances with Sydney City Youth Ballet to be able to perform to an audience, because that’s what they’re training to become a professional dancer for,” says Pearson.

For particularly talented students, participating in international competitions can be beneficial in this regard, giving them an opportunity to see where they range amongst some of the world’s best pre-professional dancers. In a competition like the Youth America Grand Prix, dancers receive reports from the judges who are a selection of directors from schools and companies all over the world. “It’s interesting for students to see how other people see them and if they are marked fairly high in the range they can feel they are up there close to the winners,” Pearson observes. “They can know they’re going in the right direction and maybe next time they’ll be the winner or maybe next time, they’ll get a job. An audition process, after all, is a competition.”

But even for the perfect teacher with dream classrooms full of physically ‘ideal’ students, the fate of the young students is ultimately not in his or her hands. A student’s passion, work ethic and belief in their own capabilities are the major hallmarks of a young ballerina in the making, says Shepherd.

“If they’re willing to keep going, even when it becomes hard, they will get there.”

Photo (top): Charlesworth Ballet Institute students rehearse Paquita for a gala last August.  Liam Blair (former student now dancing with the Aalto Ballett Theater Essen,Germany, who was a guest for the gala) partners Charlotte Price. Photo by Darren Clark.

Glen Street Theatre, Sydney
November 30 2012

By Linda Badger.

Sydney City Youth Ballet brought us a delightful production of the Christmas classic, Tchaikovsky’s The Nutcracker. With all its festive charm, it was the perfect way to start the last few weeks leading up to the biggest celebration of the year.

A beautifully adorned stage with great details evident in the set, props and costumes was revealed in an opening scene created to take guests on a journey of fantastical proportions, into the imagination of a little girl named Clara.

Choreographically adapted for a young cast who were playing most of the lead roles, this was a very good show for a student-based production. Under expert direction, and with a scattering of professional and ex-professional dancers, this show was overall an entirely entertaining and delightful experience.

The opportunity to be involved in a full-length production for young dancers, whether they are hoping to one day make dancing their chosen career or not, is priceless experience and training. With mostly seamless set changes and many overlapping roles within the casting of the ensemble, the company and its crew should be applauded for a job well done.

There was opportunity for much talent to be showcased, with a rotating cast for the lead roles, so that more than one group of dancers could have their moment to shine. The guest artists included past Tanya Pearson Classical Coaching Academy student Halaina Hills, who is now a dancer with The Australian Ballet. She danced beautifully with her pas de deux partner Christopher Rodgers-Wilson, also with The Australian Ballet.

The strengths of the production were definitely the visual design aspects, with much detail and a sense of authenticity about the costuming, sets and props. Complimented by the commitment to the acting of the roles played by the students, there was not a dead moment, and not a cast member not fully engaged. This drew us in as an audience and kept us wanting to see what came next, even for those who have seen this particular ballet multiple times.

Weakness came unfortunately in the technical side of the dancing, across all ages of the student body involved. There were many beautiful lines with students trained to create exquisitely lengthened arabesques and développés, but transitionally, much was left much to be desired. In saying this, however, one must remember that these were mostly students and hopefully with continued guidance their understanding of the movement will be developed more fully in the years to come.

There were some extremely strong technical dancers scattered amongst the lead and ensemble roles, notably the dancer playing the doll in the opening scene and the young dancer portraying Clara in this particular cast. They were exciting to watch.

Musicality was strong most of the time, but there were moments where it could have been better utilised. This is most likely a skill set still in the development stage.

Overall, this was a sweet and entertaining ballet. It was very family friendly for those of all ages. The young cast was talented and performed with a strong sense of conviction. I really look forward to seeing all that the future holds for the young dancers in the SYCB Company.

With competition in the dance world getting more intense, full time study is more important than ever.

By Paul Ransom.

Ever get the impression the world is speeding up and things are getting more competitive? Would it surprise you to learn that the same is true in the world of dance?

Whereas once you might have been able to ‘succeed’ without completing a rigorous full time study regime, the young hopefuls of 2011 know they have no choice. The bar has been raised and if you want to dance on the big stage (or at least have a career of some sort) then the unanimous industry opinion suggests that you enrol now.

Todd Patrick, whose academy Patrick Studios Australia, has an enviable graduate placement record, is passionate about full time dance. “The full time study question is something that’s been asked for a long time but I think over the last five years people have started to think that it is now necessary,” he begins. “What’s required of dancers these days is very different from what it was years ago. It’s now expected that the kids coming out of schools are artistic athletes.” To underline his point, he quickly adds, “They need to be contortionists, singers, actors and have great classical technique. People just want more. We’ve been weaned on So You Think You Can Dance and kids are just doing the most athletically incredible things now.”

William Forsythe, Owner/Artistic Director of ED5International in Sydney agrees that full time training is essential for industry success. “Working extensively overseas as a choreographer I meet hundreds of performers every year and the thing I come across again and again is that almost every overseas performer has studied full time for up to 3 years which gives them an amazing springboard from which to leap into the industry at full speed. I wanted this same opportunity of choice for Australian performers so we developed a 2 year Diploma in Performing Arts to allow young singers, dancers and actors a wider field of training experiences and choice. There are so many great courses in Australia at the moment, young performers need to do their research and see which institution is going to offer the right course for them depending on what type of career they wish to pursue.”

Full time study is, if nothing else, a huge commitment; a commitment that mirrors the intensity of a dance industry career. For Cameron Mitchell, Artistic Director at one of the country’s most renowned studios, (Brent Street in Sydney), a full time course is about a lot more than learning technique. “Most young performers have a limited knowledge of the industry they want to enter,” he explains. “A full time course can teach so much, not just as a dancer, a singer or actor, but as a person in the business. It gives them so many extra tools for longevity.” Trish Squire-Rogers of Spectrum Dance in Melbourne agrees saying, “full time dance not only equips the dancer with the skills to be a well rounded artist but also prepares them mentally for an industry in which one is constantly criticised. Dancers are forever hearing that they are not good enough and that they are not right for the job. Everyday is an audition, where you are judged on the way you look and behave as well as perform. Dancers are endlessly putting themselves on the line and more often than not are met with a ‘no’. Full time dance prepares the students for this mentally taxing day to day lifestyle so that they can maintain a healthy state of mind in the face of constant adversity.”

According to Jackie Hallahan, who created an accredited course for Year 11 & 12 students in the ACT as far back as 2000 and who runs the Canberra Dance Development Centre (CDDC), a full time course “inspires everyone to work towards excellence.” However, a good course will do much more than simply engender enthusiasm. “It’s work experience for a career in dance,” she adds. “Dancers are able to receive quality technical performance training and career guidance in a supportive environment and culture at an elite level, enabling the dancer to be the very best they can be.”

As anyone in the performance arts will tell you, surviving on the boards involves enormous self-discipline and no small amount of office politics. As Todd Patrick bluntly states, “for the industry at large, to have people coming up who are well mannered and who know what the industry is like because they’ve done their grounding is a big advantage.”

Esteemed industry veteran Tanya Pearson, who runs a classical coaching academy and youth ballet in Sydney, takes the point even further. “Students get familiar working to a routine of dancing all day,” she tells me. “Their bodies and minds become prepared for a life as a dancer. It’s important to note that when students are ready to audition for professional contracts they will be up against stiff competition from dancers who have had full time training. They need to be up to a certain standard and level of training and maturity, and have awareness of their mind and bodies.”

Since dance is generally a young person’s career, the training usually reaches its pitch in the mid to late teens, thereby allowing graduates more peak fitness years to explore their trade. All of which makes you wonder what level younger dancers need to attain before they are ready for a full time slog. Jackie Hallahan from CDDC suggests that it is important for candidates to possess a solid grounding before taking on a full time course. “Ideally, the student has had a graduated training program and has achieved [something like] the CDDC’s Intermediate level,” she advises. Tanya Pearson concurs, adding, “we consider more the potential of the student as well as their physical and mental attributes. Students generally should be at a minimum of Intermediate standard. However, this varies from syllabus to syllabus.” For performing arts courses Marcus Pearce of Brisbane’s Conroy Performing Arts College advises that auditioning students “should have a good level of skill in at least one genre of performing, and the physical facility that will lend itself to other styles. They also need to be prepared to participate intensively in all the styles they are not experienced at – yet! The aim of a full time course should be to graduate every student with a high level of training in every subject, not just the skills they began with.”

Importantly, Pearson urges that young dancers maintain a sense of reality. “I recommend that all students continue their academic studies through the Department of Distance Education,” she advises. “I find that our full time students cope well with their full time ballet studies and their academic studies.” Jackie Hallahan adds, “students need to develop time management skills to be able to maintain all their commitments, as well as cope with the rigours of full time.”

Whilst this all sounds like a clear pathway, the parents of aspiring dancers will doubtless be wondering about costs. Study has long since ceased to be free and the best privately run academies are, of course, business operations. Costs vary from school to school but there are partly subsidised options (like CDCC) for around $5000 a year, with other courses on the market for anywhere from approximately $7000 a year up. Most schools will offer a payment plan system, with some institutions even allowing a small number of students in special circumstances to defray hard costs by doing work around the campus. And as Marcus Pearce points out “the cost of full training may seem a lot to some parents, but it needs to be kept in mind that this is a performers’ equivalent to university (a much larger financial investment!).”

At this juncture the obvious question is: what about part time? While there is broad consensus that part time is less than ideal, highly experienced professionals like Tanya Pearson recognise that great talent does not always reside in an ideal world. “For students that cannot afford it or have other commitments I recommend that they attend as many holiday school programmes or workshops as they can. I always offer the opportunity for external students to come and attend a day or two of our full time course to gain experience, even if they are not enrolled full time in our course.” Ashley Killar of Ecole Ballet and Dance Theater who has directed companies including the Royal New Zealand Ballet adds, “there are numerous advantages to full-time training, not least training the body through the day in the correct manner to achieve strong technique, rather than in evenings after long days at school. However, while no dancer joins a professional company from a part time course, the time at which a student begins full time training should be very carefully considered by all concerned.”

Even with a range of scholarship, private tuition and part time options available, the bottom line remains: there is no free ride to a career in dance. Indeed, even exceptional raw talent will most likely need serious training in order to maintain themselves in the industry. As Brent Street’s Cameron Mitchell concludes, “Some kids get lucky; but it’s a lot more competitive than it used to be. There are more courses and more dancers fighting it out. Good training both in body and mind is invaluable.”

FULL TIME COURSES ACROSS AUSTRALIA

New South Wales

BRENT STREET Pty Ltd
Certificate IV in Performing Arts
Location: 101 Bent Street, The Entertainment Quarter, Moore Park NSW
Contact: 1300 013 708
info@brentstreet.com.au
www.brentstreet.com.au

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TANYA PEARSON CLASSICAL COACHING ACADEMY
Full Time Dancers Course (1 -3 yrs)
Pre Professional Course
Teachers Course
Part Time Program (Tiny Tots to Advanced Levels)
Location:  75 Chandos St. St. Leonards NSW
Contact: +61 2 94394424, Fax +61 2 9439 5352
admin@classicalcoaching.com
www.classicalcoaching.com

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LEE ACADEMY DANCE & PERFORMING ARTS
Full time performing arts 1 year & 2 year programs
Location: Tuggerah, NSW
Contact: 02 43 58 15 28
dance@leeacademy.com.au
www.leeacademy.com.au

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URBAN DANCE URBAN DANCE CENTRE
Certificate IV Performing Arts Course- Fully accredited 1 year full time Triple Threat Development. Dance|Sing|Act
Performance Courses – 6 month Youth and Adult Elite Dance Crews.
Scholarship Program – Advanced training with Industry professionals, the only scholarship program of it’s kind in Australia. 6 month or 1 year commitment.
Location: 39 Greek Street, Glebe 2037 NSW
Contact: 02 9571 7099
www.urbandance.com.au  

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ED5INTERNATIONAL
Certificate IV in Performing Arts – (NTIS Course Code: 91375NSW)
Diploma in Performing Arts – (NTIS Course Code: 91513NSW)
Location: Bakehouse Lane, 9 George St, North Strathfield NSW
Contact: 02 9746 0848 craig@ed5international.com.au
www.ed5international.com.au

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ECOLE BALLET AND DANCE THEATRE
Part-time Course for exam and Pre-Professional training ( Beginners to Advanced 2)
HSC Dance Preliminary and Full Course
Vocational (full time) pre-professional ballet and dance training courses
re-commencing 2012
Teacher training workshops, Teacher training courses re-commencing 2012
Location: Lindfield, N. Shore, Sydney
Contact:02 9416 8961
ecole1@optusnet.com.au
www.ecole.net.au

A.C.T

CANBERRA DANCE DEVELOPMENT CENTRE
Vocational full and part time dance course registered with the Board of Secondary Studies
Location: Mount Rogers Community Centre, Crofts Crescent Spence ACT
Contact:02 6259 1550
j.hallahan@dancedevelopment.com.au
www.dancedevelopment.com.au

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TAFE SA Adelaide College of the Arts
Bachelor of Dance Performance
Location: 39 Light Square, Adelaide SA 5000
Contact: 08 8463 5000
arts.adl@tafesa.edu.au
www.tafesa.edu.au/adelaide-college-of-the-arts

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Queensland

CONROY PERFORMING ARTS COLLEGE
2 year comprehensive full time dance program with leading Brisbane teachers and Interstate teachers flown up on a weekly basis.
During study and after graduation, students may be offered representation with ‘Rachelle Conroy Management’.
Location: Brisbane, QLD
Contact: 07 3205 7717
cpac@conroydance.com.au
www.conroydance.com.au

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AUSTRALIAN DANCE PERFORMANCE INSTITUTE
Advanced Diploma of Art (Classical and Contemporary Dance) or
(Musical Theatre and Commercial Dance) 30822 QLD
Diploma of Art (Classical and Contemporary Dance) or
(Musical Theatre and Commercial Dance) 30821QLD
Certificate III in Performing Arts 30879QLD (1 day per week)
Location: 31-33 Collingwood Street, Albion
Contact: 07 3262 2277
Email: beversen@adpi.com.au
Website: www.adpi.com.au

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Victoria

PATRICK STUDIOS AUSTRALIA
Full time Professional Development: Performing Arts
Full time Professional Development: Musical Theatre
Senior Elite, Intermediate Elite, Junior Elite
Intermediate Elite Preparation, Junior Elite Preparation
Location: 4/40 Green Street, Prahran VIC
Contact: 03 9529 8221 info@patrickstudiosaustralia.com.au
www.patrickstudiosaustralia.com.au

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SPECTRUM DANCE
Full time dance & performing arts course
Location: Burwood, Melbourne
Contact: 0433 733 187
spectrumdance@me.com
www.spectrumdance.biz
 
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DANCE WORLD STUDIOS
Advanced Associate in Fine Arts (Dance Performance)
Associate in Applied Dance (Techniques & Performance)
Foundation Course in Applied Dance
Advanced Associate in Music Theatre
Associate in Music Theatre
Advanced Associate in Dramatic Arts
Specialised training in area of interests.
Location: 295 Bank Street South Melbourne, Victoria, Australia
Contact: 03 9696 2943
info@danceworldstudios.com
www.danceworldstudios.com

By Nicole Saleh.

If you’ve ever dreamt of becoming a dancer then you’ll surely fall in love with the popular ABC television show Dance Academy. This series tells the story of Tara Webster, played by Xenia Goodwin, a young Australian girl who gets the biggest opportunity of her life, to live her dream and study ballet at the best school in the country – the National Academy of Dance.

Like her character Tara, Goodwin is living her dream. At only sixteen years old she is an accomplished ballet dancer who is studying fulltime at Tanya Pearson Classical Coaching Academy. She took a chance, auditioned for Dance Academy and won over the casting directors with her natural skill and talent.

With a hugely successful first series of Dance Academy now complete, it was wonderful to catch up with the lovely Xenia Goodwin to learn more about this rising star.

How long have you been dancing?
I’ve been dancing since I was nine and I’m sixteen now, so that’s seven years. I’m primarily a ballet dancer because I grew up doing that. That’s what I had always begged my mum to do. I did contemporary for a really long time as well and now I’m getting a little bit more versatile and have also done flamenco, hip hop, and jazz.

How did you win the role of Tara in Dance Academy?
I was studying fulltime at Tanya Pearson Classical Coaching Academy and an email came through saying that ABC television were looking for dancers. It was a cattle call audition and I decided to go because my teacher Mrs P. said it would be great experience. I ended up getting a call back which surprised me greatly and then I did the acting workshop and got another call back for a screen test. I did that, and then I got another call back, all the while thinking what is going on?! I don’t even know how to explain it. I just somehow managed to get it. 

Are you also a trained actor?
No, I had never acted a day in my life apart from high school plays. It was really nerve wracking when they gave me a script and said read it on camera.  I was thinking, how do I say this line? What does she mean? It’s quite scary, but a really good learning curve.

Xenia with her co-stars on Dance Academy

How similar are you to your character Tara?
When I first auditioned for the show I was pretty much Tara. I was exactly her, just nothing but ballet, ballet, ballet. I loved ballet and that was it. I love playing the role of Tara because she’s really honest. I feel like she’s such a good person and I aspire to be like that. That’s my favourite thing about her. Also, she’s a little bit dorky and I’m a little bit dorky, so we’re actually quite alike.

What has been your favourite episode of Dance Academy?
Oh, that’s hard. I think I’d have to say the last episode of the first season (Learning To Fly) which is the end of year performance of the Nutcracker. Tara scores the lead role as Clara and she’s just blown away by that. There are rivalries with other people and she feels like she can’t do the role, but she overcomes this and she finally feels like she is flying. It was such a journey to go through all of Tara’s emotions and it just felt amazing shooting that last scene. Tara had really achieved something by the end of it, and it gave me that same feeling.

Who has been an inspiration to you in your dance career?
Funnily enough, Tara Morice in the movie Strictly Ballroom. She’s the one who made me want to start dancing when I saw that movie. I used to watch it with my nanna and I thought ‘I just want to dance!’ When I met her on the show I found out that she’s not actually a dancer. She was never a dancer, which just makes me love her more, because in that film she’s absolutely stunning and beautiful, and I idolise her completely. She’s the only person I have ever been star struck over and now I am working with her.

Who are some of the choreographers you have worked with on the show?
Well my favourite was Sarah Boulter (Contemporary choreographer) who is amazing, amazing, amazing! We had Marko Panzic (SYTYCD top 20 in 2008) for hip hop which I’m not very good at. Lisa O’Dea choreographed some of the ballet in the beginning, and also Stephen Collier who was just brilliant. Ilona Fabiszewski (SYTYCD top 20 in 2010) also choreographed some hip hop and was a wonder to work with. I was so terrible at hip hop and she tried to help me.

What do you enjoy most about working on Dance Academy?
I have met so many amazing people! Tara Morice is my idol. She’s nothing like her nasty character (Dance Instructor Miss Raine). She is the sweetest and most wonderful woman I’ve ever met. The entire crew, the producers and everybody was so lovely and hardworking. It was really nice to be in that environment.

Are you friends with the cast outside of the show?
Yes I am, all of them actually. We’re like a family. Dena (playing Abigail Armstrong), Alicia (Kat Karamakov), Tom (Samual Lieberman), Jordan (Christian Reed) and Tim (Ethan Karamakov), are all very different and amazing people! I keep in contact with them a lot. Of course Dena and Alicia live in different states so I don’t see them very often but I still chat to them. The boys live in Sydney so I see them occasionally and it’s really nice.

What has been the most difficult part of your role?
There were scenes where I had to dance in time to the music and also talk at the same time. I must be really uncoordinated because I can’t do both – dance and talk! I would either forget the steps or forget my lines. It was so hard!

Have you ever had an embarrassing moment on set?
I knew you were going to ask this question! I’ve had a few. The worst was on one of the first days of filming. I was so new and wide eyed and I had no idea what I was doing. I didn’t realise the walls on set weren’t real, and you can’t lean on a wall when it’s not real! It could have been disastrous had someone not caught it because I almost knocked the entire set down. I don’t think the producers ever found out about that!

What advice do you have for young aspiring dancers?
I just have to say go for it!  It’s really hard especially when all you hear is negative comments and criticism. You have to think that when your teachers are correcting you and being hard on you that they are actually only doing that because they see potential in you. So be happy if you get corrected because that means they want something more from you, which is a good thing.

Fun facts about Xenia Goodwin
- She has completed her Cecchetti Advanced 1 Ballet Exam and is working on Advanced 2
- As well as Tanya Pearson Classical Coaching Academy, she also studies at Valerie Jenkins Academy of Ballet and is excited to be performing in the end of year concert
- When she is not doing ballet she enjoys spending an hour each day in the sun, relaxing and reading  a good book
- She has a dog called Missy Moo (nicknamed Moo) who is a black and furry ‘groodle’ -  cross between a golden retriever and a poodle
- The top five items in her dance bag are:
Bandaids, Pointe Shoes, MethylatedSpirits (to soak her feet and to prevent blisters), Hairspray, Hair Pins 

ABC TV and Dance Academy are giving away a DVD box set plus 5 Dance Academy CDs to lucky Dance Informa readers! Click here to enter!

Photos: ABC TV

Fifteen-year-old Phoebe Warlow, a student of the Tanya Pearson Classical Coaching Academy, has claimed the two top prizes McDonald’s Sydney Eisteddfod offers to dancers in the 14-15-year-old age group. After taking top honours in the $7,000 Robert & Elizabeth Albert Junior Classical Ballet Scholarship, Phoebe received one of the two one-year scholarships covering tuition and academic costs that are offered to finalists in this event at the discretion of the Australian Ballet School.  

Fifteen-year-old Harley Campbell, who studies at The Conlan College, Turramurra, finished runner-up, while Queenslander Jessica Brown from the Prudence Bowen Atelier was recipient of the second scholarship from the Australian Ballet School. 

The competition drew fifty-eight entries from all over Australia and New Zealand. Adjudicators Leigh Rowles of the Australian Ballet School and former dancer Belinda Hernandez were pleased with the overall standard and unanimously agreed that the final round showcased the richness of Australia’s up-and-coming talent.

The other finalists were Mia Bronneberg (Balgownie), Courtney MacMillan (Terranora), Chenaye Meyer (Port Macquarie), Phebe Murison (Auckland, NZ) and Sharlene Roberts (Bonnells Bay). All performed brilliantly and went on to win or place in other events. In the 15-year age group, Chenaye Meyer won both the Wenkart Foundation Ballet Championship and the Modern Expressive/Lyrical Dance. Not to be outdone, Courtney MacMillan triumphed in Classical Ballet and Jazz Dance solos, while after competing in the Classical Ballet Solo (14 years), Phoebe Murison took a gold medal home to New Zealand.

A look at four of Sydney’s top Full Time Dance Schools.

By Dolce Fisher.

Ev & Bow

Ev and Bow’s I Want it All, was held at NIDA’s Parade Theatre which is a perfect sized theatre for a graduation performance. The night opened with a huge song and dance number to the show’s title ‘I Want it All’. The stage was packed with incredible dancers.

Two of the best items were both choreographed by the studio directors. Sarah Boulter’s Paint It Black and Lisa Bowmer’s Special Ones were both outstanding. There was a very creative vocal number called Foreign Land that featured a solo vocal performance while a few dancers performed isolated by spotlights. There was some powerful and insane movement!

Ev & Bow won the open jazz section at the McDonald’s Performing Arts Challenge with Enough is Enough which they showcased again at this performance. The item demanded technical precision and stamina and the choreography was even tighter than when I saw it at the Challenge.

Every item paraded the strong technical training that the students had received throughout the year. The drama performances were also very entertaining, although the vocal numbers could have been a little stronger for the level of training.

Overall the standard has improved from last year. As one of the newest full time courses, only in its second year, Ev & Bow is going places.  Sarah Boulter and Lisa Bowmer are nurturing some amazing artists and there seems to be a wonderful rapport between the directors and the students.

Urban Dance Centre

UDC’s Urban Jam 2009 at Carraigeworks showcased a mix of their full time dancers, performance groups and casual class students. This made it a little hard to get a feel for the full time department of the school, but the additional performances created a jam-packed evening bursting with variety.

I enjoyed a wonderful performance from young students Alysha Percy and Ryan Buenaventura, who are part of a youth performance group.  A notable item called Chicago by Rosa Agius had a great concept with a hip hop flair added to a few famous tracks from the musical and Tiana Joubert’s High School Musical piece stood out it as it had a really strong theme. The choreography had some clever transitions and humour.

Costuming, in general, seemed a little casual but the best looking item was the opener – Fun House, choreographed by UDC’s Artistic Director Juliette Verne. It was fun, entertaining and dynamic. Juliette Verne creates some amazing choreography.

Unfortunately, the dancers got a little lost on the huge stage at Carriageworks. Although Carriageworks is a great theatre it made it hard for the work to connect with the audience as the space was just so sparse. On a smaller stage the dancers would have looked stronger.

The students are very proficient at hip hop, which is what UDC is known for. A number of the dancers needed a little more core strength and in the more technical disciplines the use of feet and elevation was a little lacking for a few. There were, however, several stand out dancers who are leaving the full time course in good stead. The standard has improved and UDC is definitely going from strength to strength.

Although the show was very long, it was enjoyable and showcased the many facets of Urban Dance Centre well.

SWAP Photography

Also held at NIDA’s Parade Theatre, ED5’s Full Time Performance was very entertaining and professional. The evening had one slick number after the other, making it hard to pick stand outs. The solo vocal numbers were hilariously entertaining and the group vocal numbers were all really well coached with excellent harmonisation and blending. A ‘FaceBook’ song was very funny and a piece called ‘All the Good Men are Gay’ was hysterical, with all the female singers dressed in wedding gowns.

All the dance numbers were really polished and energetic with a high level of performance. Every item was appropriately dressed for the style, theme and era which made the students look very professional.

The evening showed that the ED5 full time students have been exposed to a wide variety of disciplines and have grasped all of them, with Jazz, Hip Hop and Musical Theatre high on the agenda. Many schools attempt to train triple threats but sadly miss the mark. This is not the case at ED5.

There were many talented performers, so much so that a few of them have already been employed in the industry. Emily Cascarino was absent from the graduation performance as she has been cast in Mamma Mia and talented all rounder Emma Watkins recently won the Sydney Opera House dance competition called My Mutation. There were also several male students, all with great potential, which is really exciting.

ED5 is proving to be one of Sydney’s leading full time dance studios.

Tanya Pearson Classical Coaching Academy

Students from Tanya Pearson Classical Coaching Academy took part in the Sydney City Youth Ballet’s performance of Nutcracker in early December. Tanya Pearson is the founder and artistic director of the Sydney City Youth Ballet which started in 1971.

Held at the Glen Street Theatre, the show was delightful, demonstrating to us that Ms Pearson has created a wonderful opportunity for young dancers to gain performance experience in a professional environment. It was a great family spectacle and possibly the first ballet experience for many youngsters in the audience.

The dancers gave us a grand show with impressive technique and performance level. There were countless talented dancers in the cast, particularly Evan Loudon and Annabelle Miranda.  Shayarne Matheson also gave quite a mature performance. The students were joined by guest artists Yosvani Ramos and Kristy Corea from the Australian Ballet at special performances, which must have been such a thrill for them.

Although the Glen Street Theatre is a wonderful venue, unfortunately the stage was a little small for this performance. It would have been nice to see the dancers really travel around the stage. However, Nutcraker was a magical Christmas treat. It showcased the prowess of Tanya Pearson’s many talented full time dance students who have exciting futures ahead.

Very top photo: ED5 International