From the other side of the Tasman to the top of The Australian Ballet tree, Kiwi Ty King-Wall has made the jump and landed on the top of the pile.

By Paul Ransom.

The view from the top does take a little getting used to. Dreams are one thing but reality is another, as Ty King-Wall discovered when he became the new Principal Artist with The Australian Ballet.

“It certainly doesn’t automatically mean you get all the best parts,” he says in a calm, almost quiet voice. “You still have to earn those.”

Being a principal in a flagship company may well have a few perks but it also comes with the responsibility of looking out for more than your own welfare. “There’s a greater responsibility to teach and guide and look after the younger members of the company,” King-Wall explains. “That isn’t something I’ve had to deal with before and it was a little bit surprising in a way but y’know, that’s also a bit of honour. It’s a position of great trust really.”

As a keen cricket fan, Ty King-Wall understands the captain analogy and he seems more than willing to show leadership. “You’re still very much part of a team but there’s just that little bit more expected of you,” he reveals.

Ty King-Wall of The Australian Ballet. Photo by James Braund.

However, King-Wall is willing to admit that the sheer physical demands of a principal are reduced. As he says, “You get nights off and time to recover, which you don’t really if you’re a soloist or in the corps. It’s good for the body and the mind. You get to think more about characterisation.”

Looking back down the mountain, he recalls his early days in ballet school in Tauranga in his native New Zealand, confessing that he never dreamt of becoming a Principal Artist, at least not for The Australian Ballet. “I used to follow the Royal New Zealand Ballet,” he remembers. “I didn’t know anything about The Australian Ballet. Stephen Heathcote was the only one I knew.”

However, at just 16 years old, Ty King-Wall jumped the ditch and landed at The Australian Ballet School. It’s a tender age to leave home, let alone your home country; but if anything he was keen to the break away. “I was home schooled back in New Zealand so I was itching to get away and do my own thing,” he reveals. “I won’t say I was ready but I was definitely keen to be a bit more independent.”

Once in Australia though, the lessons truly began. His introduction to The Australian Ballet School was tough. His technique was a little rusty and, for the first time in his life, there was competition. “I was used to being the only boy,” he says simply.

Ty King-Wall flew through school though, graduating Dux, and by 2006, he was a fully-fledged member of this country’s national ballet. But here again, the bar was dramatically lifted. “I went from top of the class to being right at the bottom of the company in terms of hierarchy. It really taught me humility.”

Obscurity never suited the brilliantly energetic Kiwi though, and soon his virtuosity was shining out. A 2010 Telstra Award and a string of leading roles in ballet standards like Nutcracker, Onegin and Swan Lake made it clear to everyone that he was ready to step up.

Ty King-Wall performing in ‘Études’ at The Australian Ballet’s 50th Anniversary Gala. Photo by Jeff Busby.

With all those critics and fans in his cheer squad it must have been tempting to dream, perhaps even believe, that he would inevitably be promoted to a principal. “Subconsciously probably yes; but it was never at the forefront of my mind. I never took the roles I got or any the attention for granted; because ballet always has a way of bringing you back to ground.”

For any dancer pushing into their late twenties the most obvious and immediate source of gravity is the body itself. Like elite sport, ballet at the highest level is an incredibly, almost inhumanly, demanding pursuit. Finding himself in that bracket, Ty King-Wall is now more body aware than ever. Whilst admitting that he pushed himself too hard in his younger years and sustained the injuries to prove it, he now adds, “I’ve finally learnt to listen to my body, to understand it and look after it a bit better; and you need that if you’re going to continue as you get older.”

As a student of history and classical studies, he is a man well aware of the past and naturally focused on his future with The Australian Ballet. He chuckles at the idea of being a Kiwi at the top of the Oz dance tree. “I think the last Kiwi Principal was Matt Lawrence, so it’s great that I was able to keep the flag flying,” he declares. “Even though I’ve been in Australia for 11 years now, I’ll always be a New Zealander.”

Photo (top): Ty King-Wall Principal dancer of The Australian Ballet. Photo by Georges Antoni.

By Rebecca Martin.

Lisa Edwards is Queensland Ballet’s newest Soloist. She was promoted in April after her outstanding performances in the company’s production of Cinderella.  

A graduate of The Australian Ballet School, Lisa moved to Europe and danced with Stadttheater St. Gallen in Switzerland and Anhaltisches Theater Dessau and Stadttheater Koblenz, both in Germany. She returned home to Australia and joined Queensland Ballet in July 2004. Dance Informa’s Rebecca Martin recently caught up with the rising star.

Tell us a little about your early dance training in Dubbo.

I began my training with The Dance Academy in Dubbo at the age of five, with teachers Doreen and Virginia Thompson. I loved Fred Astaire and Ginger Rogers from an early age, so I wanted to tap dance. My teachers recommended doing ballet also to get a basic technique. I ended up doing everything: ballet, tap, jazz, national character, contemporary and even song and dance! My teachers saw potential and exposed me to some of the bigger dance scenes. I was about 13 when I decided that this was what I really wanted to do and I auditioned successfully for The Royal Ballet School and The Australian Ballet School.

Lisa Edwards in performance. Photo by Ken Sparrow.

You were accepted into The Australian Ballet School and relocated to Melbourne to train there. How did you manage being away from home?

It was such a huge change moving from the country city of Dubbo to a big city like Melbourne. I suffered from home sickness terribly and had to really decide if I could handle it. In the end it was my determination and passion for dance that helped me through. After the first term I had made friends and had a routine, so it became a little easier. A lot of us were going through the same thing, so that helped us to become closer. It was the friendships that really kept everyone strong. That and a great sense of humour! My time at the school was hard, but so rewarding. I got some lovely opportunities.

Your professional career began in Europe. What were some of the highlights of your time there?

I began my career in Europe in St. Gallen, Switzerland, before moving to Dessau, Germany for two years, then Koblenz for a year. So many experiences! I did not speak a word of German when I arrived, so that was a huge challenge in itself, as my first two directors didn’t speak English, just German or Spanish! So beginning to fully understand in rehearsals was exciting. These companies were all based in the theatres so the dancers were used for Opera and Musicals as well as our own shows. I’ve worked with some great choreographers and toured to Cuba and Croatia – definite highlights!

Lisa Edwards, right, dancing with Melissa Tattam, left, in a performance. Photo by Ken Sparrow.

You’ve recently been promoted to Soloist at Queensland Ballet – congratulations! How does it feel to have your hard work rewarded in such a way?

To be promoted to Soloist is such an honour, especially so early into our 2013 program under Li’s direction. QB hasn’t had a girl soloist since 2008, so it’s an important role, not just for the dancing but to help inspire and guide the other young talented dancers in QB. It’s so wonderful to be recognised for my work, dedication and leadership. I’m very excited and I feel like this is definitely a new chapter in my career.

Run us through an average day for you at QB.

During our rehearsal periods my day usually starts around 6am. I like to get up and do some yoga/Pilates before I go to work. Our daily class is at 9:30am, then it’s rehearsals from 11:15am-1:15pm, and then again from 2:15-5:30pm, Monday to Friday. There’s also an optional class on Saturdays.

My schedule is pretty full so I’m usually dashing from rehearsal to rehearsal and learning multiple roles at the same time. It keeps me on my toes! At times we also have media calls throughout the day and costume fittings. We are lucky to now have a medical team. So I try to squeeze in some physio at some point during the week, and massage!

Lisa Edwards performing a pas de deux. Photo by Ken Sparrow.

How do you manage injuries and stay motivated?

Injuries can be tricky. As you get older you learn better how to manage them and to listen to what your body is telling you. We have an amazing medical team, a Pilates studio and cardio equipment to help keep everyone in form and to prevent injury. Not to mention our ice machine – ice bins are not just for footy players!

Yes, there are days when I am tired and everything hurts, but we are so incredibly lucky to have such an amazing artistic team of Li and his wife Mary, Greg Horseman and Janette Mulligan, full of so much experience. They genuinely want to bring out the best in us. They, along with our wonderful Pianist Kylie Foster, who plays for us everyday, and obviously my fellow dancers, keep me motivated – especially our Principals. To watch them is inspiring .You can learn so much and appreciate how much of themselves they are giving. I also love YouTube. It’s great to just appreciate the amazing and sometimes crazy things dancers do!

What roles do you hope to dance in the future and what have been some of your favourite performances so far?

There are so many roles I would love to dance. I love the classics. I would have to say Juliet for her drama, abandon and passion and Swan Lake’s Odette/Odile for the pure classicism. We are getting some amazing works brought out, like Ben Stevenson’s Cinderella, which is a privilege to dance. I have been recognised around Brisbane as “Lisa the Lilac Fairy” as it’s a role I’ve done with the company over quite a few seasons. I’ll always remember the Fairy Godmother from Cinderella as something quite special, as that’s when I was promoted!

Lisa Edwards. Photo by Ken Sparrow.

We are just about to head off for our tour of Giselle. I will get to dance the role of the Queen of the Willis. It’s something I have always wanted to dance, so I’m very excited to take on this role.

What advice would you give to young dancers wanting to pursue a career in ballet?

For young dancers it’s really important to have good teachers to guide them and also to have a good understanding of your body. A career in dance is so hard on the body so you need to take care of it and fuel it properly so it functions at its optimal range. Watch artists that inspire you and see live shows when you get the opportunity. Having a sense of humour is invaluable when times get tough, and love what you do. It’s such a unique thing and there is honestly nothing quite like it… and yes, it is fun!

Photo (top): Lisa Edwards in the studio. Photo by Ken Sparrow. 

$20,000 up for grabs for Australia’s emerging dance talent

Six dancers are in the running to take home Australian ballet’s highest honour, with the 2013 Telstra Ballet Dancer Award (TBDA) nominations recently announced in Melbourne.

The 2013 Telstra Ballet Dancer Award nominees are Benedicte Bemet (Mackay, QLD), Cameron Hunter (East Fremantle, WA), Natasha Kusen (Maroubra, NSW), Christopher Rodgers-Wilson (Camberwell, VIC), Sharni Spencer (Tamworth, NSW) and Valerie Tereshchenko (Carnegie, VIC).

Artistic Director of The Australian Ballet, David McAllister, said he was excited for the group of young dancers as they began the first steps of their TBDA journey. “I’m also particularly thrilled that for the first time, the nominees will use Instagram to document their TBDA experience. Ballet fans can follow them with the hashtag #TBDA13,” McAllister said.

Telstra’s Group General Counsel, Carmel Mulhern, said the award plays an important role in recognising and rewarding existing talent within the company.
“Each year the announcement of the Telstra Ballet Dancer Award nominees is such an exciting occasion and one that is highly anticipated. It is important we continue to support and encourage the next generation of The Australian Ballet,” she said.

Introduced in 2003 to encourage young Australian Ballet dancers to reach their full potential, the Telstra Ballet Dancer Award has catapulted some of The Australian Ballet’s brightest stars into the stratosphere.

Last year Senior Artist Amy Harris from Ararat in regional Victoria was crowned the 2012 TBDA winner. Her win was a case of third time lucky, with previous nominations for the esteemed award in 2008 and 2010. In both of those years she took home the public-voted Telstra People’s Choice Award, but last year was the first time she had won the main accolade.

Five previous TBDA winners have ascended the ballet rankings to reach principal artist status, including Matthew Lawrence (2003), Amber Scott (2004), Lana Jones (2005), Daniel Gaudiello (2007) and Kevin Jackson (2008).

Audiences can see all the 2013 TBDA nominees in action at the free outdoor event Telstra Ballet in Bowl in Melbourne on Friday, March 8.

This year’s nominees were chosen by The Australian Ballet’s artistic staff, previous winners of the award and principal artists. The six dancers were judged on their performances throughout 2012, the ongoing development of their skills and their support of fellow company members.

The winner, announced near the end of 2013, will be decided by an industry panel comprising of representatives from The Australian Ballet, Telstra and the media. The winner will receive a $20,000 cash prize from Telstra. The People’s Choice Award has a $5,000 prize and is decided by public vote.

To vote for your favourite dancer, SMS their first name to 0439 BALLET (0439 225 538) or go to telstra.com/ballet to enter online.

About the nominees

Benedicte Bemet was born in Mackay, QLD, in 1994, and started ballet at the age of three. She grew up on the Gold Coast and began her training at the Ransley’s Ballet Centre. She was accepted into The Australian Ballet School at age 14. In 2012, she joined The Australian Ballet.

Cameron Hunter was born in Bentley, WA, in 1991. Growing up in East Fremantle in Perth, he started ballroom dancing at age nine. At age 13 he made the move from ballroom to ballet after being offered a scholarship to train at the Perth City Ballet. A year later, Cameron moved to Melbourne to study at The Australian Ballet School. Cameron joined The Australian Ballet in 2011.

Natasha Kusen was born in Maroubra, NSW, in 1984 and started dancing at the age of four. She trained with Nicholina Kuner’s Academy Ballet in Randwick, Sydney. In 2001, Natasha won a scholarship at the Prix de Lausanne competition to study at The Royal Ballet School in London. Upon graduation in 2003, Natasha came home to Australia to accept a position with The Australian Ballet. She was previously nominated for a Telstra Ballet Dancer Award in 2010.

Christopher Rodgers-Wilson was born in England in 1987 but grew up in Camberwell, VIC, starting ballet classes at the age of six. He trained at the Camberwell District Ballet School before moving to London to study at The Royal Ballet School. Christopher joined the Birmingham Royal Ballet in 2007 before returning to Melbourne to join The Australian Ballet in 2011.

Sharni Spencer was born in Lismore, NSW, in 1988 and grew up in Tamworth and Newcastle. She began dance classes when she was three years old and studied at Sally Kefts School of Dance and Marie Walton Mahon Dance Academy before joining New Zealand School of Dance. Sharni joined The Australian Ballet in 2008.

Valerie Tereshchenko was born in Kiev, Ukraine in 1989. She immigrated to Australia with her family when she was six years old and a year later took her first ballet class. Living in Carnegie in Melbourne, she attended a number of local ballet schools, including West Point Ballet Academy, Ballet Theatre of Victoria and the Australian International School of Coaching. Valerie later joined The Australian Ballet School. In 2009, Valerie successfully auditioned for a place with The Australian Ballet.

Photo: 2013 Telstra Ballet Dancer Award nominees Sharni Spencer, Cameron Hunter, Benedicte Bemet, Christopher Rodgers-Wilson, Natasha Kusen and Valerie Tereshchenko. Photo by James Braund

By Grace Edwards.

In one of the world’s toughest vocations, Victorian College of the Arts Secondary School (VCASS) student Harry Davis, 17, is now one step closer to his dream of becoming a professional ballet dancer after winning a silver medal at the Genée International Ballet Competition 2012. Fellow medallists included Australian Montana Rubin (female gold), and New Zealanders Aurelian Child-de-Brocas (male gold), Kaena Ahern (female silver) and Ariana Hond (female silver and Audience Award).

The prizes were awarded by an illustrious judging panel of three: David McAllister AM, Artistic Director of The Australian Ballet, Li Cunxin, author of the best-selling autobiography Mao’s Last Dancer and newly appointed Artistic Director of The Queensland Ballet, and Christopher Hampson, internationally renowned choreographer and newly appointed Artistic Director of the Scottish Ballet.

Dance Informa’s Grace Edwards spoke to Harry to congratulate him on his latest achievements and gain an inside look into his competition experience.

Congratulations on your silver medal Harry! How did you feel when you realised you had won a silver medal?

Thanks! It was a huge shock actually, especially because even before the competition I had heard from another girl who had entered the Genée the year before that the panel didn’t have to award medals unless they felt the standard of competitors was adequate. For instance, there were years where the gold medal hadn’t been awarded at all. So yes, it was a shock, but honestly it wasn’t even the best part of the whole experience.

What were your favourite aspects then?

It was really fun performing onstage for the finals. We had had rehearsals just before, so it was nice to actually do our solos onstage at the St. James as we’d already been on there.

And definitely getting to know all the people from around the world and doing class with them. I wish that we could have swapped around a bit more so we could have gotten to know even more people because we were always with the same group, but it was still good. I wish the whole thing was longer too!

For all those thinking of entering the Genée this year, what did you have to do to enter and prepare?

For the Genée there wasn’t actually an audition to go to, so the application process was fairly rigorous. You had to write down past scores from all your exams with the RAD and hand over photocopies, write down who your teachers were, your nationality – everything.

After my Solo Seal exam I had a good month or so to prepare with my teachers. The other Genée entrants from VCASS and I coached our solos every Saturday and sometimes throughout the week. Apart from my “dancer’s own” solo and the commissioned solo, we all had to learn the rest once we got to Wellington. I danced the Royal Ballet’s version of the Black Swan Pas De Deux, the Act III solo from Swan Lake, because I had already learnt it from my preparations for other competitions.

What was your schedule like?

The guys’ timetable was actually very lush and had lots of breaks because we were a smaller group. On the first day we met in the foyer at 7am for breakfast, as classes began at 9am. We had ballet class each day first, for which we were split into three groups as there were 71 of us. Our schedules all involved one of three things: variation coaching, solo coaching or dancer’s own [self-choreographed solo] coaching. So this went on for about five days until Wednesday the next week.

Then we had the semi-finals, which involved a ballet class as a warm-up. We performed a ballet class onstage, and the next day we had our variation and “dancer’s own” to perform.  The three judges judged that and afterwards they announced the finalists.

Following that, on Friday, it was just the group of five of us receiving coaching through our solos because Saturday we had the actual final. We were up quite late that evening because there was an after-party after that!

You had to perform a commissioned solo by Adrian Burnett as part of the competition. What was that like?

Yes, we all had to learn Adrian’s solo. The solo was really cool. It was fairly classical and had heaps of jumps in it, so on the first day it was really exciting. But once we got to the end it was pretty suicidal because it needed so much stamina!

What was it like creating your own solo?

It actually took me ages to choreograph my “dancer’s own” solo because I hadn’t choreographed much ballet before. We got to choose our own music, so I used music from the movie Pina. It was really difficult for me, but it was a good experience.

How did you celebrate?

Pretty much by doing nothing, because I was tired by the end and also, my knee was quite sore because I have tendonitis. So, I just wanted to rest. We all had a little party in the dorms after we went back to the hotel and that was a release from it all, which was nice. There wasn’t much celebration when I went back home, it was just about having holidays. The experience itself was the reward really.

What are your plans for the future?

I’m looking forward to joining the Level Six boys at The Australian Ballet School this year and taking advantage of all the facilities there as I’d like to improve things like my upper-body strength for pas de deux. I’d also love to try and audition again for the Prix de Lausanne. If something amazing did happen and I actually got into the Prix, the prize money I’ve won from the Genée would help me pay for flights without having to worry my parents. Otherwise, it will probably end up as a long-term deposit, maybe for an audition tour at the end of my training. I’m just saving up at the moment for anything that might happen in the next few years. As for long-term plans, I’m not too sure yet. I’m just keeping my options open at the moment and seeing what happens. I’ve still got a good three years of training to go to figure that out!

Photos courtesy of Harry Davis. 

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

By Laura Di Orio.

At the age of 18 months, when most kids are perfecting their walk, Reed Luplau was beginning to dance. His mom ran a dance studio, Jody Marshall Dance Company, in Perth and there Luplau grew up in the studio learning jazz, musical theatre and acrobatics. His dancing allowed him a successful, memorable career in Australia and has since landed him in the United States, where he is now a permanent resident and lives in New York City. But he’s much more than just a dancer now; he also has choreographing, teaching and, most recently, acting, under his belt. And his expectations are still sky high. With his plate of skills forever growing, it is no doubt that Luplau, already a star, is growing brighter and brighter every day. He is a man on a mission, and nothing seems to stop him.

“I pretty much didn’t know any other life than dancing,” said Luplau, who ironically says he didn’t discover ballet until 14 years old when he saw his first classical production, West Australian Ballet’s Coppélia. He said he thought, “What is this? What’s going on? You can be paid to dance?”

This first sprouted more trips to the ballet, where he was also exposed to the company’s more contemporary works by choreographers such as Hans van Manen and Nacho Duato. Luplau was hooked. He decided to seek out a ballet school to train part-time, and then, at the age of 15, was accepted into The Australian Ballet School and packed his bags, left his family behind and moved to Melbourne to train full-time.

Reed Luplau in performance with Lydia Johnson Dance in NYC. Photo by Kokyat

From there, Luplau ventured to Sydney to dance with the Sydney Dance Company under the direction of Graeme Murphy and Janet Vernon. His dance career was beginning to blossom – he was the poster boy during his second year with the company for one of Murphy’s new works, he was nominated for numerous awards and he was often a chosen dancer for outside choreographers.

One of those choreographers was Aszure Barton, a New York-based choreographer who created a work on Luplau and two other company members.

“She really changed a lot of my view of dance in Australia,” Reed recalls. “She kind of pushed my buttons and was like, ‘Reed, do you need to move? What are you doing here? Grow up. You need to come follow me to the States.’”

So, when Luplau was offered another contract with Sydney Dance Company, he turned it down and, in February 2010, moved to New York for good. “Just a hunch,” he says of his decision to move.

Since arriving in New York City, Luplau has danced with Stephen Petronio Company, Aszure Barton and Artists, Lydia Johnson Dance and Compagnie Julie Bour, among others. In September 2011, Luplau joined Lar Lubovitch Dance Company, which, for him, has been extremely rewarding.

“[Lar] is such a legend and he’s a dancemaker. It’s been such an honour to be involved with him, create with him and dance his beautiful work,” Luplau says.

Also in New York City, Luplau works with his agent and books gigs, such as a promo for Teen Nick and a dancing stint for the Lucille Lortel Awards opening night. In this way, he finds life as a dancer in NYC different from the life of a concert or contemporary ballet dancer in Australia.

“The opportunity to be able to do things that come up has been fantastic – the versatility that comes with it,” Luplau says. “It’s not so one-stream. In this city the way you survive is you’ve got to book that job and take whatever you can get.”

Still, as an Australian with an O-1 Visa, there were jobs that Luplau couldn’t go for because of his status. So, rather than renewing his Visa, he made the investment in his career and applied for permanent resident status. It became official in August of this year.

“I didn’t want to reapply for another Visa because I was just going to be doing the same things, and, for me, I need to keep evolving and I need to keep pushing my boundaries,” Luplau says. “That’s why I moved here. I would not have moved out of my home and become the struggling artist, to be honest, if I didn’t believe in it and if I didn’t want to push it. It’s expensive, but it was something I had to do.”

Luplau is convinced it will be worth it. Already he has been to his first Broadway call and did The Last Goodbye workshop, where he met Sonya Tayeh and Alex Timbers, both of whom Luplau says he never thought he would have met in his life.

Reed Luplau. Photo courtesy of Energetiks. www.energetiks.com.au

Then one day, Luplau got a casting call for a feature film, 5 Dances, a predominately dance-focused film directed by Alan Brown. Luplau, who had never read lines before and had never had to portray someone else, went in for the call. A month later he was called back, and after a less-structured, improv-based callback, Brown told him, “I really like you. You can’t act, but we’re going to hire you.”

So Luplau, ever-evolving in his skill set, tried his best. The movie wrapped and is slated to be released in early 2013. It has been rumoured to open the Lincoln Center Dance on Camera Festival on February 1, 2013. By the end of the process, Luplau was so inspired that he sought out an acting school in order to serve his next quest: Broadway.

“It’s doable and I can do it,” Luplau says. “I want to do so much in the short time that we have on this earth, and Broadway is the next thing I want to do, so it’s time to figure out what to do and how to get there.”

With the help of the 5 Dances casting agent and Alan Brown, Luplau found an acting school that would fit in well with his dance schedule, where he has been studying since September.

“It’s a struggle,” Luplau admits, “but it’s something I believe in and it’s something I want to transition into. It’s challenging. I’ve been dancing for so long. Not that I don’t find dance that challenging anymore, but to be able to speak and portray someone else is difficult. I’m only two months in and I’m like, ‘give me more.’”

It is this determination and thirst for more that makes Luplau’s goals seem just an arm stretch away. He understands that the world of Broadway is a competitive and challenging one, but he continues to strive.

“I feel that with all these extra tools that I’m picking up, it’s something that I want to do, and I’m very serious about it,” Luplau ensures. “That’s what I’m focusing on.”

That said, however, Luplau points out that New York City is one that is best lived moment to moment. “I remember I used to have such a clear vision,” Luplau says. “I mean, I have a vision of where I’d like to be, but five years from now I can’t tell you where I’ll be. Not that it sets you up for failure, but sometimes it sets you up for disappointment because it’s just life. Life just changes like that. This city and the way that everything is, you have to live day by day. Or check by check.”

But no matter where Luplau may be one year from now, one month from now or one week from now, it is sure that he will still be pushing his boundaries.

For more on Reed Luplau, head to his website at www.reedluplau.com

Top photo of Reed features fashion by Energetiks dancewear. www.energetiks.com.au

By Grace Edwards.

Partnering with The Australian Ballet and The Australian Ballet School, Channel Ten will launch the premiere of its new children’s series, Once Upon A Dream, on October 16^th, which will air Tuesdays and Wednesdays at 4pm. Over six episodes, the documentary-style series reveals what it takes to be a part of our national ballet company, taking viewers behind the scenes of The Australian Ballet’s production of Swan Lake. In anticipation of the series’ launch, Dance Informa’s Grace Edwards spoke to Australian Ballet soloist, Rudy Hawkes, who features extensively in the series, about what it takes to become a dancer.

Can you take us through your first memory of dance? What happened and what it was like?

It was my mum’s idea – she had always had a passion for ballet and asked if I wanted to go along. I had no idea what I was in for, so my first memory was me jumping around a class full of girls and getting really tired. I remember really enjoying it and wanting to do more, which I think took my mum a bit by surprise! It was a good surprise though, because I was a really hyperactive kid and she wanted something to tire me out.

When did you make the transition mentally from dancing for fun and deciding this was the career for you?

I was fairly into it when I moved to Melbourne to attend the Australian Ballet School. It was probably about half way through my first year of ballet school that I decided I wanted to make dance my career – watching the men of the Australian Ballet Company and seeing what they were doing every day for a job and getting paid for it inspired me. They were all fantastic dancers and I thought, “Yeah, that’s what I want to do, that’s where I want my dancing to take me.”

Australian Ballet Soloist Rudy Hawkes. Photo by James Braund

Growing up, was there ever a time when you thought, ‘Can I do this? Is this the right career for me?’

Yes definitely, there was always doubt, but I definitely wasn’t one to think, “Oh, am I going to be a doctor or am I going to be a dancer?” I was never that good at school or focusing my attention to books, so it was either I really try hard at dancing or knuckle down and do school work properly. I decided to knuckle down and become the best dancer that I could, so there was never really doubt about that, I suppose.

In Once Upon A Dream we get to go behind the scenes of the Australian Ballet, witness the dedication of the dancers and the team that supports them. Who are the unsung heroes of the ballet, in your opinion?

Our coaching staff and dancing staff put so many hours into making everything look right and they don’t always get the mention that I think they deserve. There are so many unsung heroes – once you get to the theatre, it’s the backstage crew that make things come alive, and wardrobe too. That’s why I think Once Upon A Dream will be interesting because it doesn’t just show the ballet dancers in costume, it shows everything else too, like the medical team who look after us if we get injured, and the choreographers. I think it will be a good insight into our little world.

What is the most challenging aspect of life as a professional dancer that you think audiences often don’t see?

It’s all pretty challenging – rehearsing every day, and even class! We always do ballet class in the morning just to keep moving and keep our technique strong. I was struggling a bit today. Things that you can do one day, the next day make you feel completely silly or uncoordinated, for instance, realising you can’t turn more than three times because you’re falling over yourself. It’s an on-going battle to keep your body doing what you want it to do and training it so that when you’re on stage it comes naturally. At the end of the day, the goal is to make everything look effortless. The audience might not realise how hard some of this stuff really is.

What do you love most about life as a performer?

Performing! You get a chance to transport the audience into a new world, help them escape the daily grind, go somewhere else and hopefully enjoy themselves. In doing that, I also get to escape by becoming a different character and to feel free whilst dancing. You feel alone in your own world even though there are many people watching you.

We look forward to seeing you on our screens Rudy. No doubt there will be a lot more people watching you soon!

Top photo: Rudy Hawkes performs in The Australian Ballet’s Nutcracker. Photo by Jess Busby 2010.

By Rain Francis.

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

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

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

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

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

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

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

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

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

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

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

Dancenorth "Fugue"

Company: Dancenorth
Title: Fugue
Choreographer: Raewyn Hill

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Company: Tasdance
Title: Momentary
Choreographer: Anna Smith

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

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

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

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

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

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

By Rebecca Martin.

Australian dancer Stephanie Williams has gone from strength to strength since leaving The Australian Ballet in 2011 and joining Het Nationale Ballet in Amsterdam for six months before settling into her new home of New York where she is one of American Ballet Theatre’s (ABT) newest recruits.

Since commencing her ballet training at the age of 8 with the Marie Walton-Mahon Dance Academy in Newcastle, Stephanie has been a dancer to watch.  Moving to Melbourne as a teenager to train at The Australian Ballet School, she received the Gold Medal at the 10th Asian Pacific International Ballet Competition in Tokyo, graduated at the top of her class, and performed the dual role of Odette/Odile in Swan Lake.  In 2007, Stephanie joined The Australian Ballet as a Corps de Ballet member before being promoted to Coryphee the following year.  While with The Australian Ballet, Stephanie performed many Soloist and Principal roles and was a guest artist with Christopher Wheeldon’s Morphoses, again performing Principal roles.  2009 saw Stephanie work with choreographer Wayne McGregor on his new piece Dyad 1929, and become the youngest ever winner of The Australian Telstra Ballet Dancer of the Year Award and People’s Choice Award.

In the lead up to the world premiere of Ratmansky’s Firebird in California, Stephanie found time to speak with Dance Informa about life since leaving Australia…

You’ve done quite a bit of travelling lately, having gone from The Australian Ballet to Het Nationale Ballet in Europe, and now with American Ballet Theatre in New York. How are you managing so far away from friends and family?

The past year has been a whirlwind of travel, exploration and life change. At times it’s been wonderful and exciting and at other times scary and daunting, but all part of an incredible journey that has given me a fresh perspective on life and dance. The beautiful people that have come into my life have had a huge impact on me and they have helped me with the major changes that come with moving to the other side of the world. I have to say I am extraordinarily fortunate to have the most beautiful, supportive family whose love and belief in me has never wavered, even when I’ve felt lost at times. And although I miss them terribly, I am in an extremely positive, motivating, passionate and inspiring environment every day at ABT. This fills me with a sense of happiness and allows me artistic fulfillment, of which I couldn’t have ever imagined and appreciate so much. And thank goodness for Skype!!

Stephanie Williams of American Ballet Theatre. Photo James Hooper

Any interesting cultural differences you’ve come across?

New York is incredible in that I feel like it’s so open to different styles and foods and that’s why it’s so exciting because there is always something new and interesting to try and seek out. I’m not a good sleeper so the fact that I live in ‘The city that never sleeps’ works perfectly for me!
Amsterdam is like no other place, with canals and bikes everywhere you look. I used to love seeing an entire family on a bicycle – the mum riding with the two kids on the front, baby in arms, perhaps an umbrella and mobile phone in hand and some groceries hanging off the handle for good measure. All executed without a care in the world! And then parked amongst another hundred bicycles so the street looks like a twisted metal junkyard! What a truly amazing sight and the epitome of Amsterdam.

Do you notice differences in European and American dancers compared with Australians?

There are definitely differences in dancers from Europe and America compared to Australia and I think a lot of it comes down to training and cultural differences. But what I think is amazing about dance is that it is universal. All around the world there are inspiring artists expressing themselves through movement and to me I feel that it is such a special, beautiful way to share one’s emotions. No matter your training, background or where you’re from, each individual has his or her own unique way of expressing that through dance. That is incredible.

Did you have trouble securing a Visa to work in the US?

I was actually very lucky with securing my Visa. ABT helped by petitioning on my behalf and they required a lot of paperwork from my time dancing with Het Nationale Ballet, Australian Ballet and Morphoses The Wheeldon Company, so my mum was an absolute hero and compiled everything and sent it to ABT. Once my petition was approved I secured my Visa. It has a name which I love. Apparently I am an “Alien with Extraordinary Talents”! I then just had to go to the US Consulate in Amsterdam, but was very lucky with how smoothly it all came together.

Is living in New York and dancing in one of the world’s best companies a dream come true?

I have to admit I do pinch myself most days. I have found a happiness and an appreciation for what I am fortunate enough to do every day. Living in New York is incredible. It is a city to get totally lost in, to explore and to dream. American Ballet Theatre is a very special organisation and to be a part of it is very humbling and inspiring. But over the course of the last 15 months I have grown up a lot (as stereotypical as that sounds). I have found such beauty in people, places, dance and life and to be able to recognise and appreciate it. That, to me, is the dream I have journeyed to.

What shows do you have coming up with ABT?

At the moment I am in Costa Mesa preparing for our triple bill which consists of Merce Cunninghams’ Duets, Christopher Wheeldons’ 13 Diversions and the world premiere of Ratmanskys’ new Firebird. I will be dancing in 13 Diversions and Firebird which I am really excited about! Being involved in the creation of Firebird has been incredible and inspiring each and every day. Working with Ratmansky and seeing this ballet come together has been amazing and I’m so excited about the premiere this week!

Will Australian audiences see you on stage at home in the future?

I really hope I can come and dance in Australia sooner rather than later, so I will definitely be looking at how to make that happen.

Top photo: Stephanie Williams dances in La Bayadère with American Ballet Theatre. Photo Gene Schiavone.

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