Triptych25 Sept —10 Oct

Sydney Dance Company

Katie Noonan & ACO2

New Breed

8–13 DecemberCarriageworks

Meet the new breed of Australian dance creators

Book now sydneydancecompany.com carriageworks.com.au

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Made possible by

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Welcome to Triptych, a program in three parts. Sydney Dance Company is delighted to be collaborating with the Australian Chamber Orchestra once more. Our dancers have revelled in the opportunity to work alongside the talented musicians of ACO2 under the lead violin of Thomas Gould.

We are also thrilled to welcome Katie Noonan back to share the stage with us. This is the third season Katie has performed with Sydney Dance Company and we are shortly to also undertake our inaugural international tour together with performances in Hong Kong, in conjunction with the Australian Chamber Orchestra, then onto Germany where we will work with the German Philharmonic Orchestra Rhineland-Palatinate to deliver Triptych in its European Premiere.

Over the course of 2015 we have expanded the reach of our education and outreach activities and by the end of the year will have helped over 6,000 young people to explore their creativity through dance.

This year we are delivering 79 performances to audiences from Germany to Hobart and many places in between. By the end of 2015 in Australia alone, we will have performed in 14 cities and towns across six states and territories.

Commissioning new works for the Australian stage is an important part of what Sydney Dance Company does and the support of our partners, private, government and corporate, make tonight’s performance and every performance possible and we wholeheartedly thank them for that support.

Anne DunnExecutive Director

Triptych 25.09—10.09Roslyn Packer Theatre Walsh Bay

Part 1: Simple Symphony (22 minutes)Part 2: Les Illuminations (30 minutes)Interval (20 minutes)Part 3: Variation 10 (34 minutes)

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Triptych

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Music Program Part OneBenjamin BrittenSimple Symphony, Op. 4 (1933-1934)

Boisterous BourréePlayful PizzicatoSentimental SarabandeFrolicsome Finale

Part TwoBenjamin BrittenLes Illuminations, Op. 18 (1939)After poems by Arthur Rimbaud (1886)Vocals: Katie Noonan* *sung in French

FanfareVillesPhrase and AntiqueRoyautéMarineInterludeBeing BeauteousParadeDépart

Part Three Benjamin BrittenVariations on a Theme of Frank Bridge, Op. 10 (1937) Introduction and ThemeVariation 1: AdagioVariation 2: MarchVariation 3: RomanceVariation 4: Aria ItalianaVariation 5: Bourrée classiqueVariation 6: Wiener WaltzerVariation 7: Moto perpetuoVariation 8: Funeral MarchVariation 9: ChantVariation 10: Fugue and Finale

Choreography Rafael Bonachela

Music Benjamin Britten

Vocals Katie Noonan Musicians ACO2

Costumes Toni Maticevski Stage and Lighting Design Benjamin Cisterne

Guest Director and Violin Thomas Gould

ViolinHarry Bennetts1

Amy Brookman1

Brielle Clapson2

Peter Clark3

Madeleine Jevons1

Christina Katsimbardis3

Jenny KhafagiMonique Lapins3

Holly Piccoli3

ViolaGiovanni Pasini4

Martin Alexander1 William Clark3

CelloDaniel Yeadon5

Ruben Palma1

Anna Pokorny 3

Double BassMuhamed Mehmedbasic 3

1. 2015 ACO Emerging Artist2. Courtesy Sydney Symphony Orchestra3. ACO Emerging Artist alumni4. Courtesy Qatar Philharmonic Orchestra5. Australian Chamber Orchestra

Triptych is presented with the support of the 2015 Sydney Dance Company Commissioning Fund.

Platinum PartnerThe Neilson Foundation, Carla Zampatti Foundation

$10,000+Paul Brady and Christine Yip, Jade and Richard Coppleson, Judy and Robin Crawford, Manuela Darling-Gansser and Michael Darling, Beau Neilson and Jeffrey Simpson, Judith Neilson, Gretel Packer, Roslyn Packer AO, Alastair J M Walton

$5,000+Jean Marc Carriol, Rose Herceg, Naomi Milgrom AO and John Kaldor AM, Paris Neilson and Todd Buncombe, Erin Ostadal and the late Billy Ostadal, Yashian Schauble and Tanju Dagli, Penelope Seidler AM, Bianca Spender, Waypoint Group, Di Yeldham

Up to $5,000 Jillian Broadbent AO and Olev Rahn, Antony Bullimore, Rosemary Grant, Nicky and Christopher Joye, Sarah and Robby Ingham, Skye and David Leckie, Mark Stanbridge, Ross Steele AM

Credits#SD

CTriptych

Rafael Bonachela Choreographer

Note

The seed of Britten’s Triptych came from singer Katie Noonan’s imagining of his Les Illuminations set to dance. We brought her vision to life, paired with a dance piece to Britten’s Simple Symphony in 2013 in the centenary of his birth, and now, with Variation 10, a full program is born that celebrates the beauty and depth of this superb composer.

The beautiful Simple Symphony is about playfulness, the irresistible charm of youth, a juvenile spirit and innocence. The titles of its movements include the adjectives ‘boisterous’, ‘playful’ and ‘frolicsome’. This work sparked my inspiration and creative process with its sentimentality and array of musical colours.

In contrast, Les Illuminations, contrary to its name, a dark opus, is a song cycle written in 1939 based on verse and poems by Arthur Rimbaud. My choreography, a series of duets, was inspired by the world of Rimbaud’s poetry and imagery: the chaos of big cities, the theatricality of life, the tragic and painful aspects of beauty, the underworld and the savage parade of life. This world is dreamy, meditative and nostalgic with emotional intensity and erotic visions.

Both Simple Symphony and Les Illuminations were created for dancers in pairs and couplings, intimate relationships of joy, betrayal and affection. I was interested in finding differing qualities in these pairings, each to reflect the emotional canvas of the music.

Variation 10, based on Britten’s Variations on a Theme of Frank Bridge, allows an expansion from duets to the ensemble, the use of the full company in parts and variations of ten, and provides a continued opportunity to celebrate Britten’s legacy.

For Variation 10, my inspiration comes directly from the music, a remarkable work. Listening to it, it is impossible not to feel the changing colours in tonality, the changing worlds, and the changing pace and feeling. What I love: this is a work of contrasts, of dark and light, of sadness and happiness. It is ghostly, forceful, delicate, passionate, fun, intelligent and playful. It has it all. To find a piece of music that allows me to shift from intensity and passion to something delicate and playful, all that is present in the music: it is a joy, and so easy to work with. It’s almost as if it were made to be danced.

— Rafael Bonachela

Photo: Peter Greig

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Biography Rafael Bonachela has been the Artistic Director for Sydney Dance Company since 2009. He has created several pieces for Sydney Dance Company including 360° (2008), we unfold (2009), 6 Breaths (2010), LANDforms (2011), 2 One Another (2012), Project Rameau (2012), Les Illuminations (2013), Emergence (2013), 2 in D Minor (2014), Scattered Rhymes (2014) and Frame of Mind (2015). In addition, he has remounted outstanding repertoire from Bonachela Dance Company such as Soledad and Irony of Fate (2010) and The Land of Yes & The Land of No (2011).

Rafael’s Frame of Mind won the 2015 Helpmann Awards for ‘Best Choreography’ and ‘Best Dance Work’. 2 One Another won the ‘Best Ensemble’ Award in the 2012 Green Room Awards and the 2013 Australian Dance Award for ‘Outstanding Achievement in Choreography’ and ‘Outstanding Performance by a Company’.

In 2013, Kaldor Public Art Projects brought Rafael on board to develop the choreography for artists Jennifer Allora and Guillermo Calzadilla’s work Revolving Door, which was part of the acclaimed live performance art exhibition 13 Rooms. For Sydney Festival 2015, Rafael collaborated with artist Mira Calix to choreograph for the Inside There Falls installation at Carriageworks. His internationally recognised talent has seen him work not only with contemporary dance at the highest level but also with artists from popular culture, such as Kylie Minogue, Tina Turner, Sarah Blasko and

Katie Noonan as well as leading fashion designers Dion Lee and Toni Maticevski. Such collaborative efforts reflect the inspiration he finds and utilises from culture today. In February 2013, Rafael was honoured with an Officer’s Cross of the Order of Civil Merit by His Majesty the King of Spain.

Rafael began his early dance training in Barcelona and was a member of the legendary Rambert Dance Company, both as a dancer and Associate Choreographer. He established the Bonachela Dance Company (BDC) in 2006. As a choreographer, he has been commissioned to make works for Candoco, George Piper Dances, ITDANSA, Danza Contemporanea de Cuba, Transitions Dance Company and Dance Works Rotterdam amongst others.

Read more at sydneydancecompany.com/artistic-director

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Music Note By Paul Kildea

Benjamin Britten was raised on a rich if standard English public-school diet of Shakespeare and Tennyson, Coleridge and Keats; the many songs he wrote in childhood – some good, many more constrained by his hymnbook harmonic vocabulary as he developed as a composer – reflect this education. W. H. Auden changed this almost overnight, introducing him in the late 1930s to Melville and Donne, the madhouse poems of Christopher Smart, and to the French bad-boy poet Arthur Rimbaud. Britten’s compositional voice was therefore maturing at exactly the same time his knowledge of poetry was deepening. Musical ideas – some of them bold attempts to cover over the tracks of both his juvenile works and English music in general – fused with modern and metaphysical poems to produce startlingly original works.

The first of these was his orchestral song cycle Our Hunting Fathers, written in 1936 for the soprano Sophie Wyss, an excoriating attack on the values and easy cruelty of the hunting set, which thoroughly perplexed audiences and performers alike. Two years later, on a train somewhere with Britten, Wyss watched the composer lose himself in a volume of Rimbaud’s poems – possibly using his schoolboy French, but more probably in translation – his eyes wide and shining as he promised to write her a cycle based on them. Les Illuminations was the result.

The beautiful teenage Rimbaud, whose tumultuous affair with Paul Verlaine, enacted in squalid episodes throughout Europe in the early 1870s, inspired his poetry, captivated Britten. There were resonances closer to home, however. Britten was engaged in his first relationship at the time of composition, the young Wulff Scherchen picking up the

dedication of Antique, a sensuous setting full of the sounds of a travelling street band in celebration of male mythological beauty. (‘Thine eyes – those precious globes – glance slowly.’) Scherchen had competition: the tenor Peter Pears had befriended Britten at this time and would in the following year turn friendship into something more.

Britten tacitly admitted their rapport by dedicating Being Beauteous to Pears, the touching poem in which a beautiful creature leaves this world for the next, the slow-pulsed harmonies and invading chromaticism charting her spiritual transformation. Britten returns twice to the cycle’s epigraph – ‘I alone hold the key to this savage parade’ – as if to suggest that audiences will find the progression of strange creatures in the poems wholly alienating, their significance and connection remaining in Britten’s head alone.

Britten’s mastery of the string orchestra in Les Illuminations – the exquisite solo writing, the harmonics and glassy textures – was partly a consequence of his expertise as a violist, partly because of his earlier Simple Symphony (1934). This too had autobiographical elements: with his father dying in the room next door as he composed it, the eighteen-year-old Britten was determined somehow to preserve in music his happy childhood, excavating his juvenilia to this end.

The alliterative titles of each movement – Playful Pizzicato; Sentimental Saraband; etc – are in on the joke, but Simple Symphony is nonetheless a serious work, one that underlines the sheer melodic beauty of the early works Britten discarded for one technical reason or another, but was

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happy enough to mine for this symphony. And though Britten never made claims for Simple Symphony as great art, he remained fond of the piece, glad that it gave many young players their first exposure to his music, happy to recognise that his boyhood compositional voice had contained some merit, no matter how sternly he had censured the fruits of his early labours.

Were it in his personality Britten could legitimately have claimed the mantle of great art for the Variations on a Theme of Frank Bridge, a piece of phenomenal imagination and sheer technical verve. Composed in a mad dash in the summer of 1937, it was the result of a last-minute commission from conductor Boyd Neel who was preparing to take his orchestra to the Salzburg Festival that same August and needed to comply with the Festival’s stipulation that they premiere a British piece. Commission aside, Britten’s scribbled dedication in the score – ‘To F.B. A tribute with affection and admiration’ – demonstrates the work’s real guiding force: Britten’s composition teacher Frank Bridge.

From 1928 onwards, when Britten first began lessons with him, Bridge helped his young pupil shake off the more parochial effects of his upbringing and schooling, leaving him ripe for Auden’s later interventions. The impact came not simply through the example of Bridge’s own music – which engaged more and more with Continental modernism in the late 1920s – but through the fundamental lesson on how to live and think as an artist, with the added suggestion that performance standards and cultural aspirations in Britain between the wars were remarkably slapdash. Britten was to be a professional composer in a country that recognised no such thing.

If Britten had a weakness in these years it was his penchant for old-fashioned genres or forms – Viennese waltzes, funeral marches (he was discovering Mahler), fugues, bourrées and the like – a defiantly conservative streak in the face of the musical revolutions happening on the Continent. Yet the sheer skill with which he employed these genres dispels any reservations. Lifting a theme from the second of Bridge’s Three Idylls for string quartet, Britten created a tribute to different character traits of his teacher: his integrity, energy, charm, humour, skill and so on, each trait matched with a musical form that was then magicked into something quite astonishing. (This quality – exquisite set pieces within an overarching dramatic arc – is what caught the ear of choreographers as early as 1942.)

By the end of the 1930s Britten was rec-ognised as a composer of great craft and consistency, writing standout works such as Sinfonia da Requiem and the Violin Concer-to. Yet without Simple Symphony, without Variations on a Theme of Frank Bridge and Les Illuminations, it is impossible to conceive of him arriving at point in his artistic devel-opment. They are vital milestones on his compositional journey.

Paul Kildea © 2015

Paul Kildea is the author of Benjamin Britten: A Life in the 20th Century. Paul is a writer and conductor who has performed many of the Britten works he writes about, in opera houses and concert halls from Sydney to Hamburg. He was Head of Music at the Aldeburgh Festival between 1999 and 2002 and subsequently Artistic Director of the Wigmore Hall in London.

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Triptych

Biography

ACO2, the ACO’s critically acclaimed string ensemble, delivers the ACO’s regional touring and education programs. It connects the elite musicians of the ACO with Australia’s most talented young professional musicians at the outset of their careers, creating a combined ensemble with a fresh, energetic performance style. These young professionals have all participated in the ACO’s year-long Emerging Artists’ Program. It is testament to the ACO’s Emerging Artists’ Program’s success that four former ACO2 members have been appointed members of the ACO.

ACO2 commenced touring in 2007 and has since toured to over 80 regional centres in every state and territory. The Ensemble regularly works with international and Australian guest artists of the highest calibre. Biennially, ACO2 is the Orchestra in Residence at the Vasse Felix Festival in WA.

ACO2 runs workshops and presents concerts for school-aged students in regional and metropolitan areas. In this way the ACO’s Education Program identifies, connects and mentors three generations of Australian string players, making the future very bright indeed.

ACO General Manager Timothy CalninACO2 & ACO VIRTUAL Manager Phillippa MartinEducation Assistant Caitlin Gilmour

Read more at sydneydancecompany.com/aco2

ACO2 Musicians

Thomas GouldGuest Director and Violin

Biography

Described as ‘a soloist of rare refinement’, Thomas Gould has performed as a soloist with major orchestras worldwide including Hallé Orchestra, LA Phil New Music Group, Royal Philharmonic Orchestra and West Australian Symphony Orchestra, collaborating with conductors such as John Adams, Nicholas Collon, Paul Daniel, Clark Rundell, John Rutter, Robin Ticciati and Garry Walker.

Recent and upcoming orchestral engagements include performances with the Sønderjyllands Symfoniorkester, Philharmonie Zuidnederland, Kazan Philharmonic, City of Birmingham Symphony Orchestra and Orchestre Nationale de Bretagne amongst others.

Thomas recently signed exclusively with Edition Classics, the first release in May 2015 was a live recording of Beethoven’s Violin Concerto and Vaughan Williams’ The Lark Ascending with Sinfonietta Riga.

Thomas is Leader of Aurora Orchestra and associate leader of Britten Sinfonia. A strong advocate of contemporary music, he has given numerous world, UK and London premières, including concertos by Nico Muhly, John Woolrich, Hans Abrahamsen and Christopher Ball.

Read more at sydneydancecompany.com/thomas-gould

Photo: Jack Saltmiras

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Katie Noonan Vocalist

Note

When I was a young girl I sang in the chorus for Benjamin Britten’s War Requiem and ever since that day I have adored his expressive and inventive music. He writes so very beautifully for the voice – I like to think that his love for his life partner (tenor Peter Pears) is reflected in the wonderful notes he wrote for the voice. Britten’s notes keep on finding me at various points in my life and fill me with inspiration.

Upon discovering Les Illuminations I immediately imagined it as a dance piece and am so thrilled that this dream has become a reality alongside the incredible musicianship of ACO2 and the potent choreography of Rafael Bonachela and his beautiful dancers of Sydney Dance Company. It really is a gorgeous feast of sound and movement and I am thrilled to be a part of it.

— Katie Noonan

Biography

Katie Noonan’s technical mastery and pure voice makes her one of Australia’s most versatile and beloved vocalists. A mother, singer, producer, songwriter, pianist and business woman, this 4 x ARIA award winning and 7 x platinum selling songstress first received widespread praise as the angel-voiced songstress of indie-pop band George and has since taken audiences on sublime excursions through Jazz, Pop and Classical music.

In 2013 the Herald Sun ran a poll asking Australia’s most famous vocalists to nominate the greatest Australian singers of all time. Katie was voted in the top 20 sharing this honour with the likes of Michael Hutchence, Bon Scott, Neil Finn, The Bee Gees and Gurrumul.

Katie has performed by invitation for Australian and international Prime Ministers, members of both the British and Danish Royal Families and His Holiness The Dalai Lama as well as performing across Australia, the USA, Canada, Europe and South East Asia. In 2015 Katie released a new album Transmutant which she is touring across the country in Oct/Nov.

Read more at sydneydancecompany.com/katie-noonan

Photo: Ellis Parrinder

Photo: Jack Saltmiras

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Triptych

Toni MaticevskiCostume Designer

Photo: Marinco Kojdanovski

Note

The creation of three sets of costumes for Triptych is a story that extends over three years, since 2013, beginning with my original commission, to design for Les Illuminations. Benjamin Britten’s music for this show was so beautiful, romantic and sensual, I didn’t want to make these costumes too modern. Simple Symphony has an innocence, which was reflected in the pale nude colour of the costumes. These pieces include beading and chiffon that twists around the body. For Les Illuminations the costumes and attitude were darker, sexier and more suggestive. For Variation 10 I really wanted to bring a movement and volume to the dancers. The colours were kept to cool shades of grey and silver, in varying hues and textures. There was a real focus on zones on the body. A lot of the male dancers bodies are enhanced with slung lines that manoeuvre around their chests, crotches, arms and backs. The female dancers are given a softer more romantic almost distressed ballerina treatment, with tiered volumes cascading and warming the silhouettes. Rafael is so particular with how he likes his dancers to look and present. I took it as a bit of a challenge for this final piece to add volumes and layers to the dancer’s costumes. Things that felt bound and almost entwined like some of the movements that Rafael and the dancers create together.

— Toni Maticevski

Biography

Since launching his label in 1999, Toni Maticevski has retained a strong hands-on approach to his work, draping and sampling his designs himself. He balances the design and creation of a successful ready-to-wear label alongside his bespoke practice catering to one off commissions. His particular mix of high glamour and exacting technical know-how, coupled with a restrained and sleek tailoring have earned him local and international recognition.

Driven by his desire to continually experiment, Maticevski’s work exhibits considerable diversity from one season to the next. Choosing to eschew mainstream trends, he acknowledges that rather than trying to make his collections commercial, he prefers to work on ideas that are creatively challenging and likely to push his designs further.

Read more at sydneydancecompany.com/toni-maticevski

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Photo: Marinco Kojdanovski

Note

The relationship between music, costume, movement, stage and light design in Simple Symphony is well defined by its name. A clean and pure stage design is used with a light floor defined by its edges. The orchestra, vocalist and dancers inhabit this space to create a singular image.

In contrast, Les Illuminations is defined by darkness and lack of borders. The task of framing these two very different works, Simple Symphony and Les Illuminations in the original 2013 season has been amplified with the addition of Variation 10.

The approach was to work with the existing pallet, utilising the open space and bright warmth of Simple Symphony, the darkness and contrast of Les Illuminations and the interaction between these two worlds to find a place for this variation.

— Ben Cisterne

Biography

Benjamin’s reputation is for finesse and a gutsy approach to design, based in light. Benjamin is known for creating bold designs that are integral to a project. He works collaboratively on all projects and has been involved in all forms of museum, exhibition and performing arts projects professionally for 15 years. Benjamin is passionate about the capability of light in spacial design, performance and its role in art. Benjamin has extensive experience working both nationally and internationally with diverse teams and projects. He splits his time between exhibition / museum specification and performing arts design where he is especially well-known for his work in dance.

Benjamin’s lighting design for Sydney Dance Company’s 2 One Another was nominated for a 2012 Green Room Award. His other work for Sydney Dance Company includes Project Rameau, Contemporary Women, Emergence, Les Illuminations, 2 in D Minor, L’Chaim!, Scattered Rhymes, Parenthesis and Frame of Mind.

Read more at sydneydancecompany.com/benjamin-cisterne

Ben CisterneStage and Lighting Design

Photo: Ben Symons

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Triptych

Chris AubreyRehearsal Director

Biography

Originally from Sydney, Chris graduated from Adelaide Centre for the Arts in 2007 with a Bachelor of Dance Performance and completed his Cert III and IV in Fitness in 2008. He joined Australian Dance Theatre and worked under the direction of Garry Stewart between 2007 and 2011. He also worked with Larissa McGowan, Antony Hamilton, Lina Limosani, Leigh Warren and choreographed his debut piece titled Apophenia.

Chris joined Sydney Dance Company as a dancer in 2012 and has performed in the world premiere of Rafael Bonachela’s 2 One Another (2012-2014); Project Rameau (2012); Emergence (2013) and 2 in D Minor (2014). He has also worked with guest choreographers Larissa McGowan (Fanatic); Alexander Ekman (Cacti); Jacopo Godani (Raw Models) and Gideon Obarzanek (L’Chaim!). He was named in the 2012 Dance Australia Critics Survey ‘Most Outstanding Dancer’ for his performance in The Land of Yes & The Land of No.

Chris was a part of the 2013 collaboration with Kaldor Public Art Projects for the contemporary art exhibition 13 Rooms where Sydney Dance Company featured in Allora and Calzadilla’s Revolving Door. He also toured North America, South America and Russia with the acclaimed 2 One Another, winner of the ‘Best Ensemble’ Award in the 2012 Green Room Awards and the 2013 Australian Dance Award for ‘Outstanding Achievement in Choreography’ and ‘Outstanding Performance by a Company’.

Chris was appointed Rehearsal Director of Sydney Dance Company at the start of 2015.

Read more at sydneydancecompany.com/rehearsal-director

Photo: Ben Symons

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Photo: Ben Symons

Biography

Juliette was born in Perth, where she completed the majority of her dance training, first at the Graduate College of Dance with Terri Charlesworth, and then going on to graduate from the Western Australian Academy of Performing Arts (WAAPA) with an Advanced Diploma in Dance in 2003. Her studies followed with a Bachelor of Arts in Dance in 2004, obtained as a member of LINK Dance Company in affiliation with Edith Cowan University.

Throughout her career, Juliette has performed with Diversions Dance Company in Wales and Russell Maliphant Company. She joined Sydney Dance Company in 2009.

Juliette made her choreographic debut with her solo piece, Scrutineer, for Sydney Dance Company and Carriageworks’ New Breed season in 2014.

Juliette was named in the 2012 Dance Australia Critics Survey ‘Most Outstanding Dancer’ for her performance in The Land of Yes & The Land of No. She was also nominated for a 2014 Green Room Award for ‘Best Female Dancer’ in Interplay.

Juliette Barton Richard Cilli

Biography

Richard Cilli began dancing with STEPS Youth Dance Company in Perth, before studying at WAAPA. Cilli joined Sydney Dance Company in 2009 and in 2010 won the Helpmann Award for ‘Best Male Dancer’ for his performance in Rafael Bonachela‘s We Unfold.

During his four years at the Company he worked with renowned choreographers including Emanuel Gat, Jacopo Godani and Kenneth Kvarnstrom, and toured extensively nationally and internationally.

He was the winner of the Australian Ballet’s 50th Anniversary Ballet Competition, along with composer James Wade and designer Monica Morales, pitching the concept and treatment of a new full-length ballet entitled Corpus Callosum. In 2013 Richard danced for London based choreographer Alexander Whitley in The Measures Taken at Sadler’s Wells Theatre.

Richard spent 2014 as a member of K. Kvarnström & Co, the resident dance company of Kulturhuset Stadsteatern in Stockholm, Sweden. He also choreographed and staged an excerpt of his work Corpus Callosum on the dancers of The Australian Ballet for their emerging choreographers’ season Bodytorque.DNA.

2015 saw Richard return back to Sydney Dance Company. #SD

CTriptych

Biography

Holly Doyle comes from Miranda NSW and has trained under the direction of Gilli O’Connell, Tibor Horvath, Matthew Shilling, Anton Bogdanovych, Matt Trent, Kristina Chan and various other tutors from the Australian dance community.

Holly studied dance at Newtown High School of the Performing Arts, where she received extensive contemporary and classical training for seven years. Completing her Higher School Certificate in 2011, Holly was awarded first in the state for Classical Ballet.

Holly joined Sydney Dance Company in 2013 on an initial three-month scholarship. It is thanks to the generosity of a special group of Partners, and their support of our A Year on The Wharf program, that Holly was able to continue to train, tour and perform with the Company beyond her scholarship.

Holly was named in the 2014 Dance Australia Critics Survey for being a ‘Dancer to Watch’ in Charmene Yap’s Do we as part of the 2014 New Breed season.

Biography

Janessa is of Australian and Filipino heritage. She grew up in Yamba, a small coastal town in Northern NSW and started dancing at the age of 5 at the Adele Lewis School of Dance. She received a scholarship to attend the Queensland Dance School of Excellence where she finished her senior studies and gained her Royal Academy of Dance Solo Seal Award. While in Brisbane she also performed in the Queensland Ballet’s production of Excalibur, directed by Francois Klaus.

At the age of 18 she continued her dance development at the New Zealand School of Dance (NZSD), majoring in Contemporary. After completing her diploma at the NZSD, Janessa joined New Zealand’s acclaimed Black Grace Dance Company.

Janessa joined Sydney Dance Companyin 2009. She has been named in the 2012 and 2014 Dance Australia Critics Survey for ‘Most Outstanding Dancer’.

Holly Doyle Janessa Dufty

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Cass Mortimer Eipper Fiona Jopp

Biography

Born in Melbourne, Cass trained at the Australian Ballet School and performed with the West Australian Ballet from 2006-2009. While working with the West Australian Ballet, Cass was commissioned to choreograph numerous works.

In 2010 Cass became co-director of the Australian dance/media company, Ludwig, where he created and performed in several dance works including Solo 1.5, which was awarded ‘Most Outstanding Performance’ at the 2011 Rome International Choreography Competition. In 2012 he was awarded 3rd prize at the Stuttgart International Dance Theatre Festival for his performance in BodySong, choreographed by Emma Sandall. In 2012 Cass co-created and performed Fleck&Flecker with Emma Sandall, which in 2013 was awarded ‘Most Outstanding Choreography’ at the West Australian Dance Awards and named ‘Best New Work’ in Dance Australia’s 2013 Critics Survey.

Cass joined Sydney Dance Company in January 2013. He choreographed a piece for Sydney Dance Company and Carriageworks 2014 New Breed season, Dogs and Baristas, and Sydney Symphony Orchestra’s Le Grand Tango in April 2015.

Cass was recently nominated for a 2014 Green Room Award for ‘Best Male Dancer’ in Interplay and he won the 2015 Helpmann Award for ‘Best Male Dancer’ in William Forsythe’s Quintett.

Biography

Fiona Jopp was born on the Gold Coast and began her training at The Gold Coast City Ballet with Dawn and Joy Ransley before finishing at the Palucca School in Dresden and the Royal Conservatory in The Hague.

Fiona was in the Australian production of The Lion King, Pimlico Opera’s West Side Story in London, music videos for M.I.A and Calvin Harris, in Madonna’s film Filth and Wisdom, World War Z by Marc Forster and Joe Wright’s Anna Karenina.

Whilst freelancing in London, she worked and toured with Michael Clark Company, Bonachela Dance Company, Emanuel Gat Dance, Javier de Frutos and Cameron Mcmillan.

During Fiona’s time with Sydney Dance Company she has performed choreography by Rafael Bonachela, Emanuel Gat, Jacopo Godani, Gideon Obarzanek, Andonis Foniadakis, Gabrielle Nankivell, Lee Serle and Cass Mortimer Eipper. She will create a new piece for Sydney Dance Company and Carriageworks’ New Breed 2015 season, showing 8-13 December.

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Biography

Born in Germany, Bernhard attended the Palucca School in Dresden before completing his dance training at The Royal Conservatory in The Hague.

In 2005 Bernhard was invited to join the ballet of Theater Görlitz in Germany under the direction of Franz Huyer. He then performed in Innsbruck, Austria with the State Theatre of Tyrol dancing numerous soloist roles including Siegfried in Birgit Scherzer’s Swan Lake and the title role in Brel- le Grande Jacques.

Bernhard joined the Dutch National Ballet for the 2008 season of Toer van Schayk and Wayne Eagling’s Nutcracker and Mouse King. He performed in Yuri Zhukov’s Pioneer Plaques 2009 and Hlín Diego Hjálmarsdóttir’s Caught In The Square as part of Zhukov Dance Theatre’s 2009 season in San Francisco.

Bernhard joined Sydney Dance Company in 2010. He will create a new piece for Sydney Dance Company and Carriageworks’ New Breed 2015 season, showing 8-13 December.

Biography

David began his training at the Victorian College of Arts in 1998 finishing his secondary school education and completing a Bachelor of Arts in Dance.

After briefly freelancing while studying, he joined West Australian Ballet in 2002 and stayed with the Company until the end of 2003. In 2004 David joined the Rambert Dance Company in London where he spent two years performing principal and soloist roles in works by Christopher Bruce, Rafael Bonachela, Wayne McGregor, Fredrick Ashton, Kim Branstrup and Michael Clark.

In 2006 David was invited to work with Javier de Frutos at Phoenix Dance Theatre. The company toured extensively performing at the Venice Biennale and all over the UK. In 2008 he returned to West Australian Ballet as a soloist and choreographed his first work Papillon in the 2009 Genesis season.

David joined Sydney Dance Company in 2014. He was recently nominated for a 2015 Helpmann Award for ‘Best Male Dancer’ in William Forsythe’s Quintett.

Bernhard Knauer David Mack

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Chloe Leong Alana Sargent

Biography

Chloe Leong started dancing at the age of six at Sydney’s Brent Street studios, and later studied at Lindfield’s Ecole Ballet and Dance Theatre.

In 2010 she completed three years training at London’s Rambert School of Ballet and Contemporary Dance. During her final year of training, she preformed A Linha Curva by Itzik Galili with the Rambert Company for their National UK Autumn tour Seven for Secret.

Chloe moved to Barcelona in 2012 to join the junior contemporary company IT Dansa under the direction of Catherine Allard. During her two years with the Company she performed works by Rafael Bonachela (Naked Thoughts), Alexander Ekman (Whim), Ohad Naharin (Kumyot) and Sidi Labi (In Memorium).

Joining Sydney Dance Company in 2015, Chloe featured in Rafael Bonachela’s Frame of Mind and William Forsythe’s Quintett. Chloe won the 2015 Helpmann Award for ‘Best Female Dancer’ for her role in Quintett.

Biography

Alana Sargent was born in Gisborne, New Zealand, where she began her ballet training at the Diane Logan School of Dance at the age of 5. In 2004 she started training under the Junior Associates program at the New Zealand School of Dance (NZSD), as a precursor for her acceptance into the school’s full-time Contemporary program.

Toward the end of her graduating year at NZSD, Alana attended an Australian secondment with Sydney Dance Company, and was invited to attend their auditions. As a result, Alana was offered a contract with the company, sponsored by FOXTEL, who chronicled her experience in a documentary. The setting for the documentary – and focus of her contract – was the Sydney Dance Company season of New Creations 2, where she worked alongside the Company with Israeli choreographer Emanuel Gat.

Alana has also performed in New Zealand with Sacha Copland and Wellington-based Java Dance Company for their 2011 season of Rise.

Alana has been a member of Sydney Dance Company since 2012.

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Biography

Originally from Melbourne, seasoned dancer and choreographer Daniel Roberts graduated from the Victorian College of the Arts secondary school in 2005. He continued his training at The Australian Ballet School where he graduated in 2008 with an Advanced Diploma in Classical Ballet and another in Classical Choreography, making him the first student in the school’s history to graduate with a double diploma.

In 2009 Daniel joined the Singapore Dance Theatre, working with David Dawson, Jorma Elo and Choo San Goh. In 2011 he became a member of West Australian Ballet. Daniel created Jubilate for the company’s Ballet at the Quarry season in 2013 and in 2015 his work Hold the Fourth premiered in Perth.

Daniel joined Sydney Dance Company in 2015.

Biography

Born in Hobart, Tasmania, Jesse Scales completed her early training in Adelaide with Terry Simpson where she gained the RAD Solo Seal at 16. Jesse then went on to study at the NZSD, majoring in Classical Ballet, and graduated in 2011 with a National Certificate in Dance Performance.

In 2009, Desmond Richardson awarded Jesse a full scholarship to study with him and Co-Artistic Director Dwight Rhoden at the Complexions Contemporary Ballet Summer Intensive in New York.

At the end of 2009, Jesse joined the Melbourne Ballet Company for Project Six: Moment of Inertia and worked with choreographers Simon Hoy and Robert Kelly for which she was awarded the Artistic Director’s Young Dancer Award.

Jesse also appeared in Meryl Tankard’s Australian Dance Theatre performance of 1998 and Graeme Murphy’s Swan Lake with The Australian Ballet.

Jesse has been with Sydney Dance Company since 2012. Her performance in William Forsythe’s Quintett was nominated for a 2015 Helpmann Award for ‘Best Female Dancer’.

Daniel Roberts Jesse Scales

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Biography

Todd Sutherland was born in Queensland and received his early training at the Queensland Dance School of Excellence (2001) and later at the Australian Ballet School (2002-2004). In 2004, Todd toured with the Dancer’s Company (Australian Ballet) before accepting a contract with Walt Disney Productions for performances in Tokyo, Japan (2005-2007). In 2006 he joined Queensland Ballet where he remained until the end of 2010.

Todd is an accomplished gymnast, having been the Queensland All-round State Champion from 1999-2001. He was also a member of the Australian Gymnastics Team and the Australian National Floor Exercise Champion, reaching Level 9 in Men’s Artistic Gymnastics in 2001.

Todd joined Sydney Dance Company in 2011. Highlights in Todd’s career at Sydney Dance Company include performing in Alexander Ekman’s critically acclaimed Cacti and a feature role in William Forsythe’s Quintett.

Biography

Born in Melbourne, Australia, Petros moved to London in 2007, where he was offered a place on the Degree Course at Laban Conservatoire for Contemporary Dance. During his time training at Laban, Petros worked with Rosemary Butcher, Gary Lambert, Dam Van Huynh, Rosemary Brandt, Charles Linehan and Kerry Nicholls.

In 2010 Petros joined Tavaziva Dance, where he stayed for four years. He has also danced for Watkins Dance, joining the Company as a guest artist in 2012 and IJAD Dance Company working with them on their 2013 project In-Finite Space.

In 2014, Petros made the move back from London to Australia and joined Sydney Dance Company for the Louder Than Words season.

Todd Sutherland Petros Treklis#SD

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Sam Young-Wright Charmene Yap

Biography

Sam was born in Canberra, where he completed the majority of his dance training with Quantum Leap Youth Dance Company under the artistic direction of Ruth Osborne. He also danced with Fresh Funk and The National Capital Ballet School. While in Canberra Sam was awarded the Dame Peggy Van Praagh choreographic development scholarship and received the ‘Best Male Dancer Award’ for Short and Sweet Canberra.

During his time studying at WAAPA, Sam seconded with Sydney Dance Company for the Australian premiere of choreographer Alexander Ekman‘s Cacti as part of De Novo in 2013. In 2014 Sam was awarded a scholarship to attend the Nederlands Dans Theater Summer Intensive, performing a new creation by Marco Goecke and repertoire from Crystal Pite, Sol León and Paul Lightfoot.

Sam was offered a place in Sydney Dance Company’s inaugural Pre-Professional Year directed by Linda Gamblin in 2014 and performed in Louder Than Words. He joined the Company this year and performed a feature role in the Australian premiere of William Forsythe’s Quintett.

Biography

Charmene Yap graduated from WAAPA with a Bachelor of Arts in Dance in 2006. Upon graduating, Charmene received an Australia Council Skills and Development Grant for young and emerging artists, which allowed her to second with several choreographers including Lucy Guerin, Sue Healey and Tanja Liedtke.

Charmene was nominated for the prestigious world-wide Rolex Mentor and Protégé Arts Initiative Award and was a successful applicant for the 2009/2010 SCOPE program to expand her interest in architecture.

Charmene has previously worked with Chunky Move, Lucy Guerin Inc., Tasdance and Dancenorth. Joining Sydney Dance Company in 2010, Charmene has won multiple awards including ‘Outstanding Performance by a Female Dancer’ for the 2013 Australian Dance Awards and ‘Best Female Dancer’ for the 2012 Helpmann Awards for her performance in Rafael Bonachela’s 2 One Another. She was awarded the 2014 Helpmann Award for ‘Best Female Dancer’ for her performance in Rafael Bonachela’s 2 in D Minor. She was also named in the 2014 Dance Australia Critics Survey for ‘Most Outstanding Dancer’ for her performances in Interplay and 2 One Another.

Last year Charmene made her choreographic debut with Do we, a piece for Sydney Dance Company and Carriageworks’ New Breed season.

Read more at sydneydancecompany.com/dancers

22—23

Sydney DanceCompany— Board Of DirectorsAndrew Messenger (Chair)Pam BartlettPeter BrownieJean-Marc CarriolBrett CleggJane FreudensteinKiera GrantRandal MarshKaren MosesBeau NeilsonCarla Zampatti

PatronDarcey Bussell CBE

AmbassadorsJudy CrawfordBee Hopkins Jules Maxwell

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Management

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Artistic DirectorRafael Bonachela

Executive DirectorAnne Dunn

Deputy Executive DirectorSean Radcliffe

ProducerDominic Chang

Executive AssistantAlexandra Cook

AccountantMelissa Sim

Payroll AssistantCarina Mision

Business ConsultantBruce Cutler

Development DirectorLizzi Nicoll

Business Development ManagerKate Munnelly

Philanthropy ManagerMichelle Forsyth

Patron ManagerSusan Wynne

Development CoordinatorJoshua Forward

Philanthropy AssistantCarina Martin

Marketing ManagerZena Morellini

Marketing CoordinatorChontelle Clark

PublicistJulie Clark

Resident Multi-media ArtistPeter Greig

Education CoordinatorsKatherine Duhigg, Emma Powell —

The Company —

Rehearsal DirectorChris Aubrey

Juliette BartonRichard CilliHolly DoyleJanessa DuftyCass Mortimer Eipper Fiona JoppBernhard KnauerDavid MackChloe LeongAlana Sargent

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Daniel Roberts Jesse ScalesTodd SutherlandPetros TreklisSam Young-Wright Charmene Yap

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Production

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Technical DirectorGuy Harding

Stage ManagerSimon Turner

Production Technician Tony McCoy

Head Mechanist John Shedden

Wardrobe SupervisorFiona Holley —

Dancers Treatment and Care

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Company DoctorDr. Michael Berger

Sports and Exercise Physician Dr. Ken Crichton

PhysiotherapistsApril-Rose Ferris Marko Becejski Maleeka Rayner

Company TeachersAndrea Briody Lucas JerviesNicola WadeKristina ChanLisa GriffithsCathie GossAlister Grant (accompanist) Philipe Klaus (accompanist)

Pre-Professional YearCourse DirectorLinda Gamblin — Dance Studios

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Director, Dance ClassesRamon Doringo

Dance Studios ManagerTamara Wheeler

Office AssistantNarelle Howarth

Rehearsal Photography Peter Greig Campaign Photography Justin Ridler

Dancer Portraits Ben Symons and Peter Greig

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Sydney Dance CompanyThe Wharf, Pier 415 Hickson RoadDawes Point NSW 2000

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Join the conversation: #SDCTriptychsydneydancecompany.comfacebook.com/sydneydancecotwitter.com/sydneydancecoinstagram.com/sydneydancecoyoutube.com/sydneydancecompany

Sydney DanceCompanyPartners

Sydney Dance Company’s Partners provide the vital support we need to commission new works, share them with audiences around Australia and overseas, grow our education program and support emerging talent. We would like to thank all those who have contributed to our Commissioning Fund, Touring Fund, Education Fund and Partner Program. We would also like to thank all of our partners who wish to remain anonymous.

Platinum Partners $100,000+Robert Albert AO and Elizabeth AlbertThe Balnaves FoundationCrown Resorts FoundationJulian and Lizanne KnightsAndrew MessengerThe Neilson FoundationPacker Family FoundationThyne Reid FoundationCarla Zampatti Foundation

Performance Partners $20,000+Jillian Broadbent AO and Olev RahnManuela Darling-Gansser and Michael DarlingPaul McCullaghSandra McCullagh (in tribute to my mum)Karen MosesNelson Meers FoundationGretel PackerRoslyn Packer AORebel Penfold-Russell OAMJohn Prescott AC and Jennifer PrescottThe Ian Potter FoundationThe Wales Family FoundationEmma Zuber

Studio Partners $10,000+Pam and Doug Bartlett Paul Brady and Christine Yip Peter and Liz Brownie Janice and Tony Burke Peter Clemenger AO and Joan Clemenger AO Jade and Richard Coppleson Crawford Family FoundationMike Dixon and Dr Dee de Bruyn Doug Hall Foundation Tim Fairfax AC Jane and Richard Freudenstein Kiera Grant Andrew and Emma Gray Garrick and Evelyn Hawkins Sarah and Robby Ingham Key Foundation Susan Maple-Brown and the late Robert Maple-Brown AOJules Maxwell Michael Mills Natascha and Matthew Milsom Beau Neilson and Jeffrey SimpsonJudith NeilsonTalita SchrammAlden Toevs and Judi Wolf

Chris and Susie TownsendAlastair J M WaltonThe Waypoint Group

Duet Partners $5,000+ Australia China Art Foundation Dr Richard Balanson and Dawn Talbot Carrie and Steve Bellotti Andrew Bird and Alexandra Holcomb BirdAndrew Cameron AM and Cathy CameronJean-Marc and Kirsten Carriol Peter Chadwick Brett Clegg and Annabel HepworthSusie Dickson and Martin Dickson AMJames and Jacqui Erskine Paul and Roslyn EspieAnnalise FairfaxDavid Fite and Danita Lowes Chris and Tony Froggatt Judy Garb-Weiss and Sam Weiss Mark HassellRose Herceg Fraser HopkinsBelinda Hutchinson AM

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and Roger Massy-Greene John and Frances InghamDonna and Carl Jackson Macquarie Group FoundationThe Alexandra And Lloyd Martin Family Foundation Carina MartinJames and Daniela McMurdoNaomi Milgrom AO and John Kaldor AMErin Ostadal and the late Billy Ostadalpeckvonhartel architects Peter Reeve and Jaycen FletcherAndrea Roberts Penelope Seidler AM Bianca Spender Leslie Stern Victoria TaylorMark Timmins and Sam Smith Turnbull FoundationIan Wallace and Kay Freedman Shemara Wikramanayake and Ed Gilmartin Di Yeldham

Dance Partners $2,000+Paul Bedbrook and Fiona Hopkins Berg Family Foundation Philip and Catherine BrennerJane BridgeAntony BullimoreHilary Burton and Craig Goodman Dr Bruce Caldwell Graham and Marisa CampionProf Malcolm Coppleson AOJill DaviesDr Michelle Deaker Drysdale FamilySuellen and Ron EnestromIan Galloway and Linda Treadwell Girgensohn Foundation Bradford Gorman and Dean FontanaRupert and Sarah HenryGabrielle IwanowTina and Mark Johnson

David Jonas and Desmon Du Plessis Tony Jones and Julian IigaBrian Ladd and Brian KellyDavid MathlinJohn and Ursula Moore Dr Gary Nicholls and Niall BarlowChris Paxton Alex Popov and Allie Hulett Philip and Carolyn Rossi Christina Scala and David StuddyMorna Seres and Ian HillPeter and Victoria Shorthouse Ezekiel Solomon AMMark StanbridgeStephen ThatcherMonika Tu UBS Foundation Eduardo Villa

Rehearsal Partners Up to $2,000Lenore and Ross AdamsonAntoinette AlbertJohn Armati OAM and Kate ArmatiRalph AshtonLisa Barakat Christine BishopMaxine Brenner and Jodee Rich Dr Catherine A Brown-WattLucy CalabriaChristine and Robert Camping Rob CoombeVitek Czernuszyn and Deborah Thomas Mary-Lou DonnanJane Douglass AMAri and Lisa Droga Fivex Commercial PropertyRosemary Grant Mandy GrayRay HansenRachelle Hofbauer Sue HoopmannAndrew and Georgie HowardJoey, Charles and Sarah Hue-Williams Michael Ihlein

Allen Iu and Bernadette WalkerChristopher and Nicky JoyeElias and Jana JuanasVirginia Judge Paul KellyLes KennedyJosephine Key and Ian Breden Joanne KillenSkye and David LeckieMarina and Richard Leong Andrew and Liz LeucharsCharlotte and Adrian Mackenzie Beverly Ng Gail O’BrienGraeme PikeJoe and Bronte PollardGreeba PritchardTed and Nanette Robson Emma and Duncan Snodgrass Scott Spain Jo Tait Howard and Mary Tanner Mike ThompsonMargaret WallerMelissa Widner and Andrew Dent Donna Woodhill

Ensemble Partners Up to $1,000Dr Cynthia à Beckett and Gordon SmithAnnie Aitken Juliet Ashworth Monica Atrash Claire Bailey David and Nancy BailinIan Belgiorno-ZegnaSteve BennettMinnie BiggsAnne Marie Birkill and Nell Bartolo Leila BisharaSarah BraschPatrick Burnett Jacqui BurtonJudith Campbell Ruth ChandlerStephen Chase and Colette Bailey Michael Chisholm

Min Li ChongRobert and Carmel Clark Rita Coenen Jo and Matt Cooper Amanda Cooton Davidov Partners ArchitectsSusanne de FerrantiDr Suresh de Silva and Dr Katja BeitatFrancois Devos and Robyn Butler Tanya DieselMargot FaraciNicole Ferrar Keith FindlayMarilyn Anne ForbesHelen ForresterMichelle Forte Fiona GaleBelinda Gibson Amber GooleyDiane Grady AMRachael Haggett Louise HamshereDavid HardidgeBen HarlowProfessor Margaret HarrisAlexa and David Haslingden Louise Iida Teresa Johnson Ballet SchoolMaureen and Keith Kerridge Robert KiddLuisa KilmanJulia King AMSusan Kirby Lynne Lancaster Margaret LedermanMaureen Lyons Macansh FamilyDougal Maple-BrownDoreen and Phillip Marsh Jeffrey Mason Jane McCallumHelen McCarthy Eva McNaughtonBruce McPhee Lopa MehrotraGraeme and Emma MendelsohnPrue MilneRobbie and Robert Minter Prof Elizabeth More AM Selene Ng

Stephen O’Rourke James Ostroburski Dr Cecile Paris Bree and Morgan Parker The Peter Pan CommitteeFay Petrou Julia Pincus and Ian Learmonth Pamela RennebergJames Roberts Martin RossMark RoyleNorman R ScottJillian Segal AMGreer Simpkin and David JowesyDavid Spurgeon Natasha StanleyStedmansRoss Steele AMSandra Taylor Greta ThomasGuy ThompsonDavid ThomsonIrina Verenikina Kathryn Warren Adriana and Daniel WeissBrian and Rosemary White Jane and Neill Whiston Renae WorboysSusan WynneAngela Young 2015 Pre – Professional Year ScholarshipsThe Doug Hall Foundation ScholarshipTim Fairfax AC ScholarshipMary Zuber Scholarship

BequestsThe Estate of C.R. AdamsonThe Estate of Patricia Cameron-StewartThe Estate of Janet FischerThe Estate of Particia Leehy

2015 Dance Noir Sydney Dance Company would like to thank the 2015 Dance Noir Committee.

Co-Chairs Tina Johnson and Peter Reeve, Pam Bartlett, Deirdre Brennan, Hilary Burton, Jean-Marc Carriol, Mark Cavanagh, Debbie Coffey, Ally Considine, Jade Coppleson, Vitek Czernuszyn, Alexa Haslingden, Terry Kaljo, Paul Kelly, Marita Leuver, Jane McCallum, Chris Paxton and Karin Upton-Baker; and the many guests and auction participants at the 2015 event for their generous support.

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Sponsors

SupportersAmerican Tourister, Artbank, Challis & Company, Contemporary Hotels, Pages, Pegasus Printing, Rococo Flowers, Santa Vittoria, Stedmans, Vitek Vodka Sydney Dance Company acknowledges the valuable contribution of its sponsors and partners and thanks them for their commitment and generosity.

The contribution of our sponsors and partners is essential to the operation of Sydney Dance Company and the creation of new works. We offer tailored packages of unique partnership benefits.

For more information, please contact:Development Director Lizzi Nicoll on (02) 9258 4832or email lizzin@sydneydancecompany.com

Associate Partners Government Supporters Platinum Members

Government Partners New Breed Season Supporter

Trusts & Foundations

Major Partners

Artistic Director Andrew Upton

Executive Director Patrick McIntyre

Director of Programming and Artistic OperationsRachael Azzopardi

Senior ProducerBen White

Venue ManagerPhoebe Meredith

Venue & Events CoordinatorKarly Pisano

Building Services ManagerBarry Carr

Front of House ManagerAlex Plavsic

Head of Technical Kevin Sigley

Head MechanistSteve Mason

Head Fly OperatorKane Mott

Deputy Fly OperatorChris Fleming

Head Electrician Andrew Tompkins

Deputy Head ElectricianHarry Clegg

Head SoundKevin White

Board of DirectorsDavid Gonski AC (Chairman)The Hon. Bruce Baird AMJonathan BigginsToni CodyJohn ConnollyAnn JohnsonMark LazbergerPatrick McIntyreJustin MillerIan NarevGretel PackerDaniel Petre AOAndrew UptonPeter Young AM

28—29

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Roslyn Packer Theatre Walsh Bay

Sydney Dance Company

2016 Season On Sale 6 October

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Major Sponsor of Sydney Dance Company

INTRODUCING ‘THE BUSINESS’A NEW WORLD STANDARD IN DOMESTIC BUSINESS CLASS

* ‘The Business’ available on A330 aircraft.

30—31

Sydney Dance Company Studios

BalletContemporaryJazzHip HopTapZumbaPilatesStretchAnd More

New Sydney Dance Company Dance Wear Range Buy online or in the foyer today! Join our mailing list for great offers.shop.sydneydancecompany.com

For ages 16 years and above Buy Now -sydneydancecompany.com

Major Sponsor of Sydney Dance Company

INTRODUCING ‘THE BUSINESS’A NEW WORLD STANDARD IN DOMESTIC BUSINESS CLASS

* ‘The Business’ available on A330 aircraft.

#SDCTriptych | sydneydancecompany.com