By Rain Francis.

Melbourne’s pretty factor goes up about 200 percent in autumn. The sun is (mostly) shining but it’s not ridiculously hot anymore and a rainbow of leaves is descending… time to rug up and enjoy our fair city. Here are five things for dance lovers to do and see over the coming months.

1. May 25 is International Tap Dance Day, a day which commemorates the “grandfather of tap” Bill ‘Bojangles’ Robinson. Tap groups all over the city will be out in force, performing famous routines, encouraging tappers to get in for a jam and generally making a racket! Look out for Winston Morrison’s Melbourne Tap Dance and Glamour Puss Studios, amongst others. Stay tuned to their websites to find out where they’ll be performing: www.tapdancingmelbourne.com.au and www.glamourpussstudios.com.au.

2. From May 3-11, ground-breaking indigenous contemporary dance company Bangarra Dance Theatre brings its work Blak to Arts Centre Melbourne. Artistic Director Stephen Page and dancer/choreographer Daniel Riley McKinley have created a work exploring the collision of two worlds. The soundscape of award-winning composer David Page has been fused with the music of cutting edge electronic artist Paul Mac and sets are by the acclaimed Jacob Nash. Bangarra’s works are always engaging and exciting, so book your tickets for this one! Book here: www.artscentremelbourne.com.au/whats-on/event.aspx?id=3444.

3. Get your dancing shoes down to Queensbridge Square (Southbank Concourse) on the first Friday of every month, for the famous First Friday Dance Club. Presented by the City of Melbourne and supported by Ausdance Victoria, the Club is a unique opportunity for anyone to get involved, pick up some moves and most importantly have fun. Led by community and professional dance groups, each Club night will feature a different dance style. It’s free and open to all ages, regardless of ability. Click here for more info: www.melbourne.vic.gov.au/AboutMelbourne/ArtsandEvents/ArtsParticipation/Pages/1stFridayDanceClub.aspx.

4. The Australian Ballet has two fantastic productions coming up in Melbourne. From June 6-17, they will be presenting Vanguard, a triple bill of key works from choreographic giants, Jiří Kylián (Bella Figura), George Balanchine (The Four Temperaments) and Wayne McGregor (Dyad). Then, from June 21-July 1, the company brings back Graeme Murphy’s Swan Lake, a fresh take on the well-known story ballet from one of Australia’s most loved choreographers. Find out more and book tickets at www.australianballet.com.au/whats_on/main_company.

5. Ballet Revolución returns to Australia after blowing audiences away in 2011. Since their Australian visit, the Cuban company has been performing sold out seasons in London, Paris, Zurich, Berlin, Frankfurt and Vienna. So get yourself down to Arts Centre Melbourne in July! With 20 of the world’s best dancers and eight of the hottest young musicians, the company mixes ferocious ballet with street dance in what The Australian called “an irresistible Cuban cocktail of ferocious sensuality”. From July 17-20 at Arts Centre Melbourne for five performances only. Book here: www.artscentremelbourne.com.au/whats-on/event.aspx?id=3445

Photo (top): Australian Ballet’s Adam Bull and Ty King-Wall in Vanguard. Photo by Georges Antoni

By Rain Francis.

1. Which song and film clip by Madonna was inspired by the underground ballroom culture of 1980s New York City?

a) Into the Groove
b) Vogue
c) Like a Virgin
d) Material Girl

2. Which famous dance work is referenced in Queen’s I Want to Break Free?

a) Swan Lake
b) Serenade
c) L’après-midi d’un faune
d) Sinfonietta

3. Which well-known actor performs an impressive dance sequence in the Fatboy Slim video Weapon of Choice?

a) Christopher Walken
b) Marlon Brando
c) Johnny Depp
d) Jake Gyllenhaal

4. Speaking of Fatboy Slim, who choreographed Praise You, as well as Kylie’s Can’t Get You Out of My Head and Bjork’s version of It’s Oh So Quiet?

a) Spike Jonze
b) Amy Hollingsworth
c) Shane Sparks
d) Michael Rooney

5. Which popular video was inspired by Bob Fosse’s choreography in Mexican Breakfast?

a) Beyonce’s Single Ladies
b) Rhianna’s Umbrella
c) Michael Jackson’s Beat It
d) Robert Palmer’s Addicted to Love

6. Which dance craze is seen prominently in MC Hammer’s U Can’t Touch This?

a) The moonwalk
b) The running man
c) The hustle
d) Gangnam Style

7. In 2007, a video was released featuring prison inmates in Cebu, Philippines recreating a dance from which Michael Jackson clip?

a) Thriller
b) Billie Jean
c) Black or White
d) Heal the World

8. Radiohead front man Thom Yorke shows off his kooky dance style in the film clip for Lotus Flower. Which well-known Brit is credited as choreographer?

a) Wayne McGregor
b) Matthew Bourne
c) Michael Clark
d) Christopher Hampson

9. In which Christina Aguilera video is a there a nod to 40s singing group The Andrews Sisters?

a) Dirrty
b) Genie in a Bottle
c) Fighter
d) Candyman

10. What style of dance is featured in Run DMC’s video for It’s Like That?

a) contemporary
b) tap
c) breaking
d) salsa

Answers:
1 – b, 2 – c, 3 – a, 4 – d, 5 – a, 6 – b, 7 – a, 8 – a, 9 – d, 10 – c

Photo: Madonna’s Material Girl music video. Photo source allaboutmadonna.com

By Rain Francis.

In the Australian Ballet’s 50^th year Dance Informa is celebrating the company by highlighting three of the Ballet’s Principal Dancers each edition. This edition Dance Informa speaks with Madeleine Eastoe, Adam Bull and Lana Jones.

Click to catch up on last edition’s interviews with Lucinda Dunn, Yosvani Ramos and Leanne Stojmenov or September’s feature of Rachel Rawlins, Kevin Jackson and Amber Scott.

Madeleine Eastoe of The Australian Ballet. Photo by James Braund

Madeleine Eastoe

Perth-born Madeleine is one of Australia’s favourite ballerinas. A graduate of The Australian Ballet School, she joined the company in 1997 and was promoted to Principal in 2005. Her first role as principal, and still one of her favourites to dance, is the title role in Giselle.

What’s your first memory of dance?

Forgetting steps on stage, aged six.

What has been a highlight of your career so far?

Returning to dance after having my daughter Ella.

Which character in a ballet do you most associate with, and why?

Giselle because I’m part mad and crazy!

Which roles are high on your wish list?

Manon and Giselle again.

What is something that most people don’t know about the life of a dancer?

Sometimes, rarely, we blank on stage!

When you are not dancing, what would you prefer to be doing?

Hanging out with my family, practising yoga and riding my bike.

If you weren’t a dancer, what would you be?

I’m not sure. I’ll be making that decision in the not too distant future.

Do you have a favourite movie? Or a favourite band?

Movie: Room with a View and High Society

Singer: Jeff Buckley

Who is your favourite choreographer?

It’s too hard to single one out.

What is the most challenging thing about your job?

Being away from family and the constant maintenance of my body.

Do you have a quote or affirmation that helps you through, or that means a lot to you?

When I first performed Graeme Murphy’s Swan Lake with Josh Consandine we were the last cast to go on and because it was such an epic production, rather than practice a specific sequence of steps we had the Nike phrase ‘just do it’, to motivate us.

What advice can you give to budding dancers?

Continue to redevelop yourself and find new ways to challenge yourself as much as possible.

What do you love most about your job?

The performing, characters, time on stage, the creative partnerships and the friends.

Adam Bull of The Australian Ballet. Photo by James Braund

Adam Bull

Born and raised in Melbourne, Adam remembers being encouraged to dance by his Grade 1 primary school teacher. Years later, he trained at The Australian Ballet School before joining the company in 2002. Six years later, Adam was promoted to Principal.

What was your first role as principal?

My first principal role was as Colas in La Fille Mal Gardee when I was still in the Corps de Ballet, but my first role as a Principal artist was dancing Grand Pas Classique the night after I was promoted to Principal.

What has been a highlight of your career so far?

Dancing Siegfried in Graeme Murphy’s Swan Lake in New York, Paris, London and Tokyo.

Which character in a ballet do you most associate with, and why?

In every role you try to flesh out the character with your own stories and actions, making every role a reflection of some part of yourself.

Which roles are high on your wish list?

I have slowly ticked off all the roles I’ve ever dreamed of dancing: Onegin, Albrecht in Giselle, Des Grieux in Manon. Every role I’ve enjoyed for different reasons.

What is something that most people don’t know about the life of a dancer?

In one day we may be working on up to five different ballets.

When you are not dancing, what would you prefer to be doing?

Snorkeling at Shelley Beach, Manly.

If you weren’t a dancer, what would you be?

A presenter on a show like Getaway!

Do you have a favourite book? Movie? TV series?

Book: The Life of Pi and A Fine Balance

Movie: Life is Beautiful, The Piano and Muriel’s Wedding

TV series: Breaking Bad

Who is your favourite choreographer?

Sir Kenneth MacMillian, Wayne McGregor and Graeme Murphy

What is the most challenging thing about your job?

Maintaining your body in peak condition 365 days a year.

Do you have a quote or affirmation that helps you through, or that means a lot to you?

“Twenty years from now you will be more disappointed by the things that you didn’t do than by the ones you did do. So throw off the bowlines. Sail away from the safe harbour. Catch the trade winds in your sails. Explore. Dream. Discover.” Mark Twain

What advice can you give to budding dancers?

The quote above has served me well.

What do you love most about your job?

The environment in which I work every day. I’m surrounded by the most talented, inspiring, funny, generous people.

Lana Jones of The Australian Ballet. Photo by James Braund

Lana Jones

Born in Canberra, Lana became a Principal artist in 2010, performing the Rose Fairy in Peter Wright’s The Nutcracker. The highlight of her career so far is her most recent role, Odette/Odile in Stephen Baynes’ Swan Lake.

What’s your first memory of dance?

My first memory of dance is more to do with the ballet uniform. I loved the white leotard and lycra white cross over, and of course the little white chiffon skirt. At age five, I felt so the part!

Describe your journey with The Australian Ballet.

I joined The Australian Ballet in 2002 and was gratefully always kept busy and worked really hard at being the best I could be in everything that I danced. It was so exciting when I started getting feature roles and understudying the roles I had always dreamt of dancing, and then eventually performing them. I feel enriched in all the diverse roles I have danced and they have all shaped the dancer I am today.

Which character in a ballet do you most associate with?

I think it would have to be Juliet (in Romeo & Juliet) because she is passionate and willing to take chances.

Which roles are high on your wish list?

Manon and Giselle.

What is something that most people don’t know about the life of a dancer?

That you can’t just take a sick day as it will affect at least ten or more people.

When you are not dancing, what would you prefer to be doing?

I love being physical, so being outdoors, maybe at the beach, with my husband and my two dogs.

If you weren’t a dancer, what would you be?

Hopefully a photographer or a nurse.

Who is your favourite choreographer?

I adore the classics like John Cranko and Sir Kenneth MacMillian, but Jiří Kylián is also sublime.

What is the most challenging thing about your job?

When you are having a really bad show and you have to keep going out on stage when all you want to do is run away.

Do you have a quote or affirmation that helps you through, or that means a lot to you?

Have the confidence to be yourself.

What advice can you give to budding dancers?

Ballet does not come without complete dedication, but if you’re willing and motivated then it definitely has its rewards.

What do you love most about your job?

Transporting audiences to a world where they can escape on a journey with you. I love escaping and telling a story as a character. I also love the physicality of ballet. It’s amazing what our bodies can do!

Top photo: Lana Jones, Rudy Hawkes, Adam Bull and Amber Scott in Gemini, The Australian Ballet. Photo by Jeff Busby.

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.

Published by Dance Informa dance magazine – everything dance in Australia – dance news, dance auditions & dance events.

Sydney Festival 2011
Sydney Theatre
January 26

 By Linda Badger

Entity by Wayne McGregor | Random Dance was challenging.  Having read so much on how McGregor is pushing the boundaries choreographically (in collaboration with not only his dancers but significant others such as scientists), his ideals and his use of technology, I expected so much more from this work. Difficult posture and speed of movement made it technically demanding for the dancers, but one could not read much beyond that.

It was refreshing to see costuming, lighting and set design that was relatively simple. It gave the dancers a chance to shine and allowed the choreography itself to complete the stage, which is something we don’t see much of these days.  It takes a talented choreographer not to rely on these elements to make the piece. 

The choreography was very reminiscent of the work coming out of many mainstream contemporary companies in Europe, displaying formal lines mixed with broken lines and changes in posture, but still requiring its dancers to be ballet dancers at the core.  The movement itself was very much based on traditional classical ballet and the long lines that the discipline requires.  McGregor himself is known for his lengthy limbs and his ability to be able to move with incredible speed despite their length. This was seen in his attempt to have his dancers move the same way.  There were some inspiring and beautiful moments in the choreography where the dancers really extended to the very nth degree, and then quickly moved on to a distortion of the shapes they had created. 

The strength and uniqueness of McGregor’s choreography seemed to come in the group moments. The whole company was on stage performing separate movements that in just moments became very connected.  It was special as we watched sparks of random connection.  I really enjoyed the group work.  I was left wanting to see more group choreography, and perhaps less duo or trios, as there was little or no meaningful or personal connection between the dancers, and when those interactions did occur, they did not seem to lead anywhere.

Despite the dancers’ wealth of training and experience, I found the overall technique lacking.  Some had beautiful technique, gorgeous feet (which is essential for very classical work) and physique.  Other dancers lacked in all three areas.  I felt that the company, although a contemporary company with dancers of all different strengths and personalities, was attempting work that would look much better on the classical companies McGregor is renowned for working with. 

McGregor has been appointed as the first contemporary resident choreographer for the Royal Ballet (with no formal classical training himself).  I am sure his work is going to see justice on the Royal Ballet dancers and the audience will see its fullest potential.  Entity was frustrating to watch as I could see what could have been achieved if the dancers were physically ready for the choreography.  It would be mesmerising to see this work on a truly classical company.

I felt that the male dancers’ portrayal of their roles was much too feminine at times, and quite distracting, leaving one wondering if there was a point to having the two separate genders in the company.  Male and female roles don’t need to be defined all the time, but the male dancers didn’t show their strength and individuality as males. The sensuality of the women was shown exquisitely.  It was a shame that the men fell under the same style at times. 

Overall the work was commendable, with some really nice partner work, lifts, physical shapes and interactions. I admire the dancers’ attack of such difficult choreography.  At times I was completely mesmerised, but at other times I wondered why interactions were happening or what McGregor was attempting to tell us. I have no doubt that opinions of the work varied across the audience.

Photos: Prudence Upton

Sydney Opera House
November 13^th

By Dolce Fisher.

Concord brought together three international choreographers – Spain’s Nacho Duato, Russia’s Alexei Ratmansky and England’s Wayne McGregor.

The evening opened with Nacho Duato’s, Por Vos Muero, a work inspired by Spanish music and poetry from the 15^th and 16^th centuries. Each section of choreography was separated by a piece of poetry, followed by beautiful Spanish music. Duato’s choreography has a simple yet elegant fluidity to it. There were many intricate lifts that created pleasing and sometimes unusual lines. The costuming by Duato himself, in conjunction with Ismael Aznar, was a contemporary take on period Spanish clothing – a Romeo and Juliet feel with a contemporary edge. There was interesting use of props including masks by the female ensemble that created a clever series of different pictures. The male ensemble danced with thuribles (incense burners used in the Catholic or Anglican Church). The use of thuribles created a somber mood but the scent from the burners seemed to spread throughout the auditorium and distract many audience members.

Por Vos Muero is a work that is beautiful and easy so watch. If I didn’t know that it was Duato’s choreography, I would have assumed that it was Jiri Kylian’s work. There are many elements of the work that were undeniably “Jiri”, especially the slow motion running on demi pointe. It is understandable that Duato’s work would have this feel as he is Kylian’s protégé, but it would be nice to see Duato’s own choreographic voice a little more. That aside, the technically demanding choreography was performed effortlessly by the Australian Ballet dancers.

Stephanie Williams and Andrew Killian in Dyad 1929. Photo by Jim McFarlane

Next was a new work for the company called Scuola Di Ballo (Italian for ‘the dance school’) which was originally a comedy by Carlo Goldini. Léonide Massine used the storyline to create a ballet for the Ballet Russe de Monte Carlo. As the title eludes, the work is based around a ballet school, including an array of characters that keep one entertained from beginning to end. Choreographed by Alexei Ratmansky, Scuola Di Ballo is just one of many forgotten ballets that he has brought back to life.

The characters in Scuola Di Ballo are well defined. The cast had to really put their acting abilities to work. There were many memorable characters including a very talented daughter, played by Reiko Hombo, who’s solo was faultless. The entire cast’s performances were impeccable in both their technique and character portrayal. The most enjoyable performance was by Gina Brescianini as ‘Felicita’, the bad student. She constantly stayed in character and her facial expression was superb. It must have been hard for such a talented ballerina to dance so convincingly badly for the entire ballet.

I was very impressed with Scuola Di Ballo.  The choreography is well suited to the style, era and storyline of the ballet and it was nice to hear the audience laugh throughout the work and really enjoy themselves.

The triple bill closed with a new work, DYAD 1929, by the Royal Ballet’s resident choreographer Wayne McGregor. The stimulus for the work was the period of time 1909 – 1929 when Sergei Diaghilev was the director of the Ballets Russes, the 1909 Antarctic expedition of Ernest Shackleton took place, and the 1929 first flight over the South Pole was successful. There is much history in the background of the work, displayed in an extremely abstract manner. Without reading the program one would have no idea of the historical facts taken into consideration by the choreographer when creating this work.

The stage was set with a creamy white marley floor with symmetrically placed black polka dots. The costumes reflected the colour scheme with a mix of designs for each couple. There was an unusual set of costumes for one couple with the female dancer dressed in a full cream unitard with a giant black dot on her stomach and her partner dressed in a similar unitard with polka dots all over that stuck out almost like pom poms. This costume was unfortunately quite distracting and a little unflattering.

DYAD 1929 is interesting, but the choreography would not appeal to a large audience. It has a feel of William Forsythe’s In the Middle Somewhat Elevated, from its fast paced and technically demanding choreography, but it seemed to fall short somehow. There was so much movement jammed into the music that the dancers didn’t ever seem to have enough time to extend each line to its fullest potential. This was distracting to watch and the movements seemed unfinished.

I can see how McGregor has tried to push the boundaries with DYAD 1929 in regards to set and costume design, the work’s overall look and the speed of the choreography. I commend him on his creativity, but I personally didn’t find the piece pleasing to watch.

Concord is the final chapter of the Australian Ballet’s tribute to the Ballets Russes. Each work in Concord was so different from one another, yet executed by the Australian Ballet with excellence and integrity. Having seen many of the works that have been performed in remembrance of, or inspired by the Ballets Russes, I feel that the company has definitely presented something for everyone. Congratulations to The Australian Ballet for their very fitting tribute to our rich dance history.

Top photo: Artists of The Australian Ballet in Scuolla Di Ballo. Photo by Jim McFarlane