THE AUSTRALIAN BALLET CINDERELLA 1 · Scene 2 Cinderella, returned to her workaday life, treasures her memories of the enchanted night with the Prince, but holds little hope of seeing

1 CINDERELLATHE AUSTRALIAN BALLET

2 2019 SEASONTHE AUSTRALIAN BALLET

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Ako Kondo. Photography Jeff Busby


Since its premiere in 2013, Alexei Ratmansky's mesmerising production of Cinderella has played to great acclaim, not only around Australia, but in London and Shanghai. It is such a pleasure to bring this magnificent ballet back to Melbourne.

Alexei Ratmansky is widely acknowledged to be a genius, and his mastery of storytelling through dance could not be more beautifully represented than in this fabulous production. The memories of working with him on this ballet are treasured by our dancers. He inspired the company not only to dance Cinderella with wit, musicality and precision, but through his choreography and insightful direction he taught us all about the majesty of our profession.

The creative team for this work were equally inspiring. The outrageously vivid and imaginative designs of Jérôme Kaplan bring so much to the narrative success of this production. He was such a joy to work with and he had the same impact on the artisans in our wardrobe department, the set builders and the scenic painters as Alexei had on the dancers. Wendall K. Harrington made magic with her extraordinary projections and Rachel Burke painted the stage with glorious lighting.

Cinderella has become one of the most requested and beloved ballets in our repertoire and I am sure that for many years to come it will continue to entrance all of us who dream of living ‘happily ever after’.

Thank you for joining us in 2019. I hope you enjoy and are inspired by our marvellous Year of Enchantment.

David McAllister AM

NOTE FROM THE ARTISTIC DIRECTOR


Dimity Azoury and Cristiano Martino. Photography Daniel Boud


Those of us who were lucky enough to be in Melbourne for the world premiere of Alexei Ratmansky’s Cinderella in 2013 knew instantly that we were seeing the birth of an important new ballet, one that the company would be performing for years to come. The unique and beautiful movement created by the world’s most in-demand classical choreographer, paired with sumptuous sets and costumes by Jérôme Kaplan, made this new production an instant hit with our audiences.

Following sold-out seasons all around Australia, and a rapturous response from audiences in Shanghai and London, we are now thrilled to bring Cinderella back to Arts Centre Melbourne, where it

had its world premiere.

The scope of The Australian Ballet’s activities and our ambitious projects – such as new productions and touring both at home and abroad – can only be achieved with the help of our many generous supporters. As always, we are extremely grateful to our government and corporate partners. The company is generously supported by the Australian Government through the Australia Council for the Arts, the Victorian Government through Creative Victoria and the NSW Government through Create NSW.

Our Principal Partner Telstra has supported the company for more than 34 years and is a part of our family in every sense. Our Lead Partner Qantas safely carries this busy company wherever we go in style and comfort and Lead Partner Aqualand, the Australian luxury property company, who is a Production Partner for Cinderella, supports our artistic ambitions.

We hope you enjoy this exciting and imaginative interpretation of one of the world’s favourite fairytales.

Libby Christie

NOTE FROM THE EXECUTIVE DIRECTOR


Amber Scott. Photography Lynette Wills


C I N D E R E L L A

Choreography Alexei Ratmansky

Music Sergei Prokofiev

Set and costume design Jérôme Kaplan

Original lighting design Rachel Burke

reproduced by Graham Silver

Projection design Wendall K. Harrington

CHARACTER LIST

Cinderella

The Prince

Cinderella’s Stepmother

Skinny Stepsister

Dumpy Stepsister

Cinderella’s Father

The Fairy Godmother

The Dance Teacher

The Prince’s Footman

Ball guests, The Solar System, Father’s friends,

The Prince’s friends, Hairdressers, Tempters

We dedicate this season of Cinderella to Dame Margaret Scott, who passed away in February of this year. Dame Margaret was one of the great powerhouses of ballet in this country. She was instrumental in the establishment of The Australian Ballet and was the first director of The Australian Ballet School. During almost three decades in this position, she discovered and nurtured generations of talented dancers, many of whom have gone on to invigorate the art form both here and overseas.

She will be sorely missed, and remembered with love.

SYNOPSIS

Act I

Scene 1

Cinderella is working hard while her Stepmother and Stepsisters are preparing for a magnificent ball given by the prince of the land.

Cinderella’s Father has fallen on hard times. He likes to drink with his friends, which makes Cinderella’s Stepmother angry. She becomes even more furious when she sees Cinderella taking a portrait of her dead mother from its hiding place. She destroys the portrait and, along with Cinderella’s Stepsisters, upbraids the poor girl cruelly.

A dance teacher visits to teach the Stepmother and Stepsisters graceful steps, and hairdressers arrive to give them splendid styles and help them on with their finery. Only Cinderella is left out, and when the Stepmother and Stepsisters set off, she is disconsolate. She takes solace in her dreams, imagining she is dancing at the ball.

The Fairy Godmother sees her sorrow and takes pity on her. Eccentrically disguised and accompanied by celestial bodies – sun, moon, planets, stars – she visits Cinderella and transforms her rags into a sumptuous ball gown. Before the planets transport her to the ball, the Fairy Godmother warns her not to lose track of time – at midnight, the magic will vanish.

Act II

Scene 1

The Prince’s ball is in full swing, and the whole court is trying to win his eye, particularly the Stepmother and her daughters. But when Cinderella arrives and encounters the Prince it is love at first sight for both of them. The court looks on jealously, and all the ladies rush off to dress themselves like Cinderella. The Stepmother and Stepsisters also hasten to change their clothes, but they’re a step behind the fashion.

As the night progresses, the Prince is captivated by Cinderella, and their love blossoms, despite the Stepmother and her daughters’ best efforts to win his attention. In her ecstasy, Cinderella forgets The Fairy Godmother’s warning. When midnight strikes and time again intrudes, she runs from the ballroom, leaving her slipper behind.

Act III

Scene 1

The Prince is desperate to find his vanished love, and has a succession of women come to his palace to try on Cinderella’s slipper. When it fits none of them, he sets out to travel the world in search of her, visiting many lands and encountering many temptations. However, he can’t forget Cinderella and returns to his kingdom determined to search every corner of it, although he is fast losing hope. Scene 2

Cinderella, returned to her workaday life, treasures her memories of the enchanted night with the Prince, but holds little hope of seeing him again. The Stepsisters, on the other hand, think they have made a great hit with the Prince, and each dreams excitedly of marrying him.

As part of his search, the Prince comes to visit them. The Stepmother and the Stepsisters try on the slipper, but their feet are too big for it. Only Cinderella’s foot fits it, and the Prince realises she is his love. They are reunited, and embark on their lives together.


Ty King-Wall and artists of The Australian Ballet. Photography Daniel Boud


S P E A K I N G R AT M A N S K YOUR DANCERS ON MAKING CINDERELLA WITH THE MASTER OF THE STORY BALLET. BY ROSE MULREADY

Alexei Ratmansky’s Cinderella has to be the only version of the ballet where the lovers quarrel during the final pas de deux. When he was writing the synopsis, the choreographer was insistent that there should be no ‘happily ever after’. Instead, “the reunited couple embark on their lives together”, with all the complexity that implies. As they dance, a projection behind them shows the cycle of the four seasons, and they move through ecstasy to doubt, conflict and finally contentment. Principal Artist Ty King-Wall, one of Ratmansky’s original Princes, says, “Relationships are not straightforward, they’re not fairytales: there’s tension and struggle, things we have to work through. Just as you see the progression of the four seasons, you see the progression of their relationship, from the sweet honeymoon phase, through obstacles and road blocks, working through it. It’s a very human, very relatable way to finish a fairytale.”

Human and relatable: it’s these qualities that make Ratmansky’s revivals of the great classics (Swan Lake, Le Corsaire, The Nutcracker and a host of others) live and breathe for modern audiences – and for dancers. King-Wall remembers Ratmansky’s direction for the Prince’s first explosive entrance into the ballroom: “He told us, ‘I want you coming out like you’re driving a Lamborghini.’” From this, the dancers got an instant picture of the Prince’s character. “He’s a little bit showy, a bit of a playboy: he’s a nice guy, but he’s always had luxuries in life.” When Ratmansky was coaching the Stepmother and the Stepsisters on how to preen for the Prince on their Mae West-lips couch, he demonstrated himself. “You’ve got to strike the most fabulous pose!” he said, hurling himself onto the couch with coquettishly crossed legs and a film-star pout.

In the 21st century, Ratmansky stands alone as an interpreter of the classical canon, and companies all over the world compete for his time. In terms of national styles, he’s a polyglot: he was trained in Russia (where he eventually became director of the Bolshoi Ballet) but also danced with Royal Danish Ballet and the Royal Winnipeg Ballet. Since 2009, he’s been the artist in residence at American Ballet Theatre. What kind of movement language emerges from this broad exposure to different traditions?

When dancers talk about Ratmansky’s choreography, one word comes up over and over: ‘body’. In ballet parlance, this means taking steps to their fullest expression: bending at the waist, going right down to the floor, using your lateral space. King-Wall remembers the choreographer “was always saying, ‘More body, more body.’” Senior Artist Dimity Azoury, who debuted as Cinderella in 2018, says, “That range of movement is not something we get to explore every day. Trying to push that movement within the music is the challenge of it. There are a lot of steps, and a lot of detail in those steps. He always pushed us to work the choreography to its full extent.”

“It’s a really Russian way of moving, that expansive use of the body,” says King-Wall. “In Russia they have these giant stages, and you see the dancers powering through space because they have so much room to move. I think Alexei’s choreography reflects that.”

For Artistic Director David McAllister, who commissioned Cinderella, the Russian element in Ratmansky’s language resides in his special sensitivity to the legacy of Marius Petipa, who fashioned ballet’s most revered classics, including The Sleeping Beauty and The Nutcracker. “Petipa’s choreography has a lot of petit allegro in the

Alexei Ratmansky in rehearsals for Cinderella. Photography Lynette Wills


feet, a lot of beats, but a really expansive upper body. In the late 20th-century interpretations of the classics, we lost a lot of that upper body movement, but it’s there in Ratmansky.” It’s no coincidence that Ratmansky, since 2015, has taken on meticulous, scholarly reconstructions of Petipa classics, working from notations to shear off the modern idiosyncrasies – high extensions, soaring leaps – that have occluded the original style.

Despite his devotion to classical sources, and his work within that tradition, Ratmansky’s choreography is as distinctive as a fingerprint. As well as the extreme ‘body’ and the swift footwork, his hallmark is the filling of each musical phrase with a flurry of steps, sometimes unexpected ones. Senior Artist Valerie Tereshchenko, who has danced the Stepmother in several seasons, cites Ratmansky’s radar-sensitive musicality. “He wouldn’t just make a step that fit the music; he was also really able to hear the dynamics of the music, so he would make a step that would be, say, fast-slow, fast- slow – he’d play with the music, going from quick to melting in one phrase.” King-Wall notes the unusual combinations in the choreography: perhaps a double sissonne from fourth position instead of fifth, rapid transitions from turned out positions to turned in, or jumps without the usual preparations. “You have to anticipate in your mind – by the time you get there, it’s too late. Sometimes, with the jumps, where you’d usually think of going up, you have to pull yourself out of the air, otherwise you’ll be too slow. You have to let the feet take over. It’s a challenge.”

‘Challenge’ is another word that regularly comes up when dancers talk Ratmansky. Senior Artist Cristiano Martino, who debuted as the Prince (with Azoury) last year, says that the ‘Lamborghini’ entrance is “one of the toughest I’ve ever done, in terms of nerves. You come straight out of the wings with a series of jetés, then there’s a consecutive pirouette and a tour to the knee with a spotlight in your face ... quite a moment! But when you nail it, it feels great.”

The Act II choreography for the Prince and Cinderella – in which both move from solo to pas de deux to solo to a second pas de deux with barely a breather – is another Everest for the dancers. Martino says, “Ty and all the boys who had done it before told me, ‘It’s a killer – prep yourself.’ It would easily be the most physically challenging thing I’ve ever done. There’s so much of that on-and-off balance stuff with your partner and you’ve got sweat dripping in your eyes and you can barely breathe!” Amy Harris, the original Stepmother, says that role was also “brutal on your body. I felt like I had to be in character at least 15 minutes before the performance, because from the moment that curtain goes up and you throw that wig on the ground, you’re into it! So I always wanted to be super-warm and ready. I like to do that first solo full out before the curtain goes up so my heart rate is up and I’m ready to go, because you’re literally sitting on a chair and then you go from zero to 100 in a fraction of a second.”

It’s fortunate that Ratmansky is so adept at getting the last drop out of his dancers. Like many artists at the zenith of their field, he is remarkably humble. In the studio, King-Wall says, “He’s very gentle, very softly spoken: very expressive, open, generous, gives a lot of himself. He’d never rage at you, he’d say just say, ‘Hmmm, no, that’s not quite right.’ It’s like a parent who says to you, ‘I’m not angry, I’m just disappointed.’ If you couldn’t get what he wanted, you’d feel so bad! You really wanted to get it right for him.” Martino agrees: “You’d think you were giving your all, and then he’d come over and stretch you just that little bit further. He was quite calm, but very energetic, very positive. You wanted to work hard for him.”

Ratmansky’s clarity also helped the dancers master his language. He would come into the studio equipped with a small black book, the day’s movements mapped out. Tereshchenko remembers, “He always came with material ready. I still have strong visual memories of him demonstrating a particular step. When he’d run out of ideas, he’d always say, ‘Just clean up

what I’ve done – I’ll be back,’ and then he’d go off to an office and come back with more. I have no idea what he was doing when he was gone!” McAllister can supply the answer: “He’d sit there with headphones on and listen to the score, and then come back out with more movement. It was almost like the music was directly feeding his ideas.”

For Harris, Ratmansky’s control of his material freed her to concentrate on character. “I love working with him, because you know exactly what he’s trying to achieve, he shows you everything he wants. You don’t have to layer on the style later – from the moment you learn that first step, that unique movement is inside you. From there, it becomes more about the character and storytelling.” McAllister says this was Ratmansky’s greatest gift to the company. “He made you remember what’s important about ballet. When he was giving a gesture or a step, he’d never say ‘and then you do this’ – he’d always say, ‘and then you say this’ – it was always about telling the story.”

Despite the choreography’s toll on the body, all the Cinderellas and Princes speak of that breakthrough moment of grasping the steps and going beyond them into what McAllister sees as the essence of Ratmansky’s language: “the beautiful way bodies mould and float around each other.” Azoury says, “The pas de deux feel as good as they look, which is not always the case! They’re hard, but when you’re listening to the orchestra and you’re in the story – they’re not hard.”

Rose Mulready is The Australian Ballet’s content expert

“Sometimes, with the jumps, where you’d usually think of going up, you have to pull yourself out of the air, otherwise you’ll be too slow. You have to let the feet take over.”

Ty King-Wall and artists of The Australian Ballet. Photography Daniel Boud


Valerie Tereshchenko. Photography Kate Longley

Ingrid Gow, Amy Harris and Eloise Fryer with artists of The Australiuan Ballet. Photography Kate Longley

Dimity Azoury and Cristiano Martino Photography Daniel Boud


Kevin Jackson. Photography Justin RidlerAko Kondo and Chengwu Guo. Photography Jeff Busby


C I N D E R E L L A : T H E C H A R A C T E R SALEXEI RATMANSKY FRESHENS TRADITIONAL WORKS WITH INSIGHTFUL AND VERY HUMAN TOUCHES. ROSE MULREADY LOOKS AT THE MAIN CHARACTERS OF HIS CINDERELLA AND HOW THEIR COMPLEXITY MAKES THE BALLET BREATHE.

CINDERELLA

Cinderella – everyone’s favourite rags-to-riches heroine. A sweet, uncomplaining drudge whisked from squalor by a magical benefactor and a handsome prince. In Ratmansky’s ballet, she’s more than that – this Cinders has spirit and passion, planet escorts, and a fabulous Dior- style gown to boot.

When we first see Cinderella, she’s slump-shouldered with exhaustion, hanging out the fine clothes of her Stepmother and Stepsisters. Abandoned by her weak-willed father and yearning for her dead mother, Cinderella may be worn down by her life of slavery, but she’s still got spunk. She dreams of setting her Stepsisters to work sweeping the floor and folding the laundry; she imagines herself free of her workaday woes and dancing at the ball.

Whirled by kind planets and stars (not to mention the moon and the sun) to the Prince’s ball, Cinderella immediately shows her worth by helping the elderly footman gather up the folds of

her cloak – unlike her Stepmother and Stepsisters, who have cavalierly piled him high with their extravagant coats. And unlike the snooty ball guests, who fawn all over the Prince while laughing at Cinderella behind their hands, she’s unaffected and sincere, dancing the sweet little dance she’s practised in her gloomy kitchen.

When midnight strikes and Cinderella comes down with a bump from the blissful heights of the ball, she’s forlorn and despairing … but also angry! In a beautiful bit of ‘feisty’ choreography, she rolls over and kicks her feet against the ground in a fury.

Ratmansky avoids saccharine in Cinderella’s final love pas de deux with the Prince. This Cinderella won’t be a happy-ever-after pushover: her movement is fierce and questioning and passionate, and there’s as much talking (in a complex twining of the hands and arms) as smooching. Somehow you just know that the harmony between them will be all the better for the piquant notes.

Dimity Azoury with artists of The Australian Ballet. Photography Daniel Boud


STEPMOTHER

This Cinderella is not your average fairytale, and the Stepmother is not your average monster. She’s vain, funny, glamorous – and mean as poison! She has banished Cinderella’s father, a down-on-his luck drunkard, from the house; but she’s still jealous of his first wife, Cinderella’s dead mother. In fact, one of her first acts in the ballet is to kick the first wife’s portrait to shreds, devastating Cinderella.

In many versions of the fairytale, the Stepmother is old, and as ugly as her daughters: but in Jérôme Kaplan’s chic 1940s-inspired designs, she’s something of a dish. Deep purples and magentas, velvet, satin, cute little cami-knickers, a fabulously draped ball gown, a swooping Victory-roll up-do: it’s no surprise that when the Prince comes calling with the slipper, she has a red-hot go at trying it on herself!

Of course, as in all good fairytales, the villain gets her comeuppance. Throughout the ballet the Stepmother is raging with vitality, prepared to go to any slapstick lengths to secure the rich prize of the Prince; but when Cinderella produces the pair to the Prince’s slipper, she is utterly vanquished. Limp with defeat, the Stepmother slinks into the background; but you can’t imagine this rampaging force of nature staying there for long.

THE PRINCE

Fairytale princes can feel a bit machine-cut. Sure, they’re handsome (natch) and brave and romantic … but what are they really like?

In Ratmansky’s Cinderella, the Prince has a distinct character, and you know it the moment he comes on stage. In the original Russian libretto for the ballet Cinderella, his entrance is described thus: “A young prince of military bearing dashes into the ballroom like a whirlwind. He seats himself on the throne like a horseman in the saddle, as though he’s about to goad his horse into a gallop.” Ratmansky follows this headlong description by having his white-suited Prince leap onto stage like a comet, performing a dazzling series of turns and jumps.

This exuberant Prince is every inch the rock star – complete with a sycophantic, Beatles-screaming court – but like Cinderella, he’s a world apart from the bitchy ball guests. Where they mock Cinderella’s naive dance, he is charmed by her lack of pretension.

The Prince proves a tenacious lover. When Cinderella disappears, he searches the world for her (again, Ratmansky follows the original libretto, which has the Prince go on an odyssey through many different lands and temptations as he tries to find his lost love). In Ratmansky’s ballet the temptations come in both slinky female and exotic male form, but the Prince, though dallying briefly, doesn’t lose sight of his quest.

His reward? Why, the girl, of course!

And while the lovers’ final pas de deux hints at a future more complex than that standard-issue happy-ever-after – as well as euphoria and chemistry, it has shades of conflict and retreat, the hands and arms describing an intricate conversation – the romance of this Cinderella and Prince will surely be one out of the box.

Amy Harris. Photography Lynette Wills

Ty King-Wall. Photography Lynette Wills

Jill Ogai, Ingrid Gow, Brodie James and Dana Stephensen. Photography Chris Boud

Cristiano Martino. Photography Daniel Boud


STEPSISTERS

Oh, those wicked Stepsisters! With their zany costumes and me-me-me antics, they come perilously close to stealing the show in Alexei Ratmansky’s Cinderella.

How do you make dancers ugly and ungainly? Frederick Ashton solved the problem by having his Stepsisters played by men in drag and clownish prosthetics (in the original version of his production, he and Robert Helpmann played the roles, drawing on the English vaudeville tradition). Alexei Ratmansky has choreographed brilliant slapstick routines for the Stepsisters – tripping all over themselves (and the dance master) in their dancing lessons, showing off cringe-worthy moves in the ballroom and of course, falling foul of that just-won’t-fit slipper!

Kaplan’s hilarious costumes for the Stepsisters do part of the work for Ratmansky. In the original Russian libretto for Cinderella, the Stepsisters are called Skinny and Dumpy, a tradition that Ratmansky has followed in his production. Kaplan uses balloon skirts to make the two sisters into a beanpole and a pumpkin, then adds knee socks under their pointe shoes, towering wigs and garish make-up to make two visions only a Stepmother could love.

In many versions of Cinderella, you heartily despise the Stepsisters: in Ratmansky’s, you can’t help but love them. Sure, they’re narcissistic, spiteful, clumsy and selfish: but they also have a touch of vulnerability and a squeal-y enthusiasm that makes them sort of endearing. And oh, what fun they are to watch!

Ingrid Gow and Eloise Fryer. Photography Kate Longley

Jill Ogai with artists of The Australian Ballet Photography Daniel Boud

Ingrid Gow and Eloise Fryer. Photography Kate Longley


C R E AT I V E S

ALEXEI RATMANSKY

Choreographer

Alexei Ratmansky was born in St Petersburg and trained at the Bolshoi Ballet School in Moscow. His performing career included positions as principal dancer with Ukrainian National Ballet, the Royal Winnipeg Ballet and the Royal Danish Ballet. He has choreographed ballets for the Mariinsky Ballet, the Royal Danish Ballet, the Royal Swedish Ballet, Dutch National Ballet, New York City Ballet, San Francisco Ballet, The Australian Ballet, Kiev Ballet and the State Ballet of Georgia, as well as for Nina Ananiashvili, Diana Vishneva and Mikhail Baryshnikov. His 1998 work Dreams of Japan earned a prestigious Golden Mask Award from the Theatre Union of Russia. In 2005, he was awarded the Benois de la Danse prize for his choreography of Anna Karenina for the Royal Danish Ballet. He was made a Knight of Dannebrog by Queen Margrethe II of Denmark in 2001.

Ratmansky was named artistic director of the Bolshoi Ballet in January 2004. For the Bolshoi Ballet, he choreographed full-length productions of The Bright Stream (2003) and The Bolt (2005) and re-staged Le Corsaire (2007) and the Soviet-era Flames of Paris (2008). Under Ratmansky’s direction, the Bolshoi Ballet was named Best Foreign Company in 2005 and 2007 by The Critics’ Circle in London, and he received a Critics’ Circle National Dance Award for The Bright Stream in 2006. In 2007, he won a Golden Mask Award for Best Choreographer for his production of Jeu de Cartes for the Bolshoi Ballet. In 2009, Ratmansky choreographed new dances for the Metropolitan Opera’s production of Aida. He joined American Ballet Theatre as artist in residence in January 2009. For American Ballet Theatre, Ratmansky choreographed On the Dnieper (2009); Seven Sonatas and Waltz Masquerade, a ballet honouring Nina Ananiashvili’s final season (2009); The Nutcracker (2010), The Bright Stream (2011), Dumbarton (2011), Firebird and Symphony #9 (2012) and Chamber Symphony and Piano Concerto #1.

Ratmansky was a recipient of a Genius Award from the MacArthur Foundation in 2013; he was named a mentor of the Rolex program for 2014/15. In 2015, he premiered his production of The Sleeping Beauty, a co-production of American Ballet Theatre and La Scala.

His first work with The Australian Ballet was Scuola di ballo in 2009. In 2013, he made Cinderella on the company.

In recent years, Ratmansky has staged a number of reconstructions of Marius Petipa’s works, the most recent being Harlequinade. Based on meticulous historical research, these productions restore Petipa’s original intentions, which have been drastically altered by various stagings through the years.

Robyn Hendricks. Photography Lynette Wills


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RACHEL BURKE

Lighting design

Rachel has worked nationally and internationally with Australia’s leading arts companies for the last 30 years. Her awards include eight Green Room Awards for Excellence in Theatre Lighting Design, IES Victorian and National Awards of Excellence for Lighting Design in 2005 and 2010 and Helpmann Award nominations in 2005 and 2015. She is a sessional lecturer in Lighting Design at the University of Melbourne’s Faculty of Fine Arts and Music. Previous designs for The Australian Ballet include Alexei Ratmansky’s Scuola di ballo; Stephen Baynes’ Art to Sky, Swan Lake, El Tango, Imaginary Masque, Unspoken Dialogues and Molto Vivace; George Balanchine’s Ballet Imperial; Adrian Burnett’s intersext; and Natalie Weir’s Dark Lullaby.

Her theatre designs include, for Melbourne Theatre Company: The House of Bernada Alba, Melbourne Talam, Buyer and Cellar, Cock, Solomon and Marion, True Minds, Constellations, Coup D’Etat and True West; for Sydney Theatre Company: The Father, Black Medea and Night Fall; for Belvoir: The Man from Mukinupin, Parramatta Girls, Black Medea and Little Black Bastard - Life x 3; for Malthouse Theatre: Walking into the Bigness, Cargo and Woman Bomb; for Arena Theatre Company: Moth and Marlin; for Playbox: Wolf, Glass Mermaid, Good Works, The Incorruptible, Night Fall and Rapture. Rachel has a critically acclaimed body of work in the independent theatre sector, including many works with Dee & Cornelius, Peta Murray, Jenny Kemp and Nadja Kostich. She recently designed sold-out national tours of SHIT (Dee & Cornelius) and The Season (Sydney Festival, Ten Days on the Island, MIFA 2017, National Tour 2018).

JÉRÔME KAPLAN WENDALL K. HARRINGTON

Set and costume design Projection design

Born in Paris, Jérôme studied Scenography at L’Ecole de la Rue Blanche and after graduating in 1987 began designing sets and costumes for theatre and opera.

In 1992 he collaborated with the Ballets de Monte-Carlo and Jean-Christophe Maillot for the first time on L’Enfant et les sortilèges; he has since designed sets and costumes for the company’s productions of Romeo and Juliette, Cinderella, Casse-Noisette Circus, Eye for Eye and Scheherazade.

In 2001, Jérôme became the first French scenographer to be invited to work with the National Ballet of China in Beijing, where he created costumes for Raise the Red Lantern.

Jérôme has designed ballets for companies all over the world. His recent work includes Christopher Wheeldon’s The Sleeping Beauty, Ib Andersen’s Kermesse in Bruges for the Royal Danish Ballet and Nacho Duato’s The Nutcracker for the Mikhailovsky Ballet, Teatro alla Scala and Deutsche Oper.

Since 2010 Jérôme has worked with Alexei Ratmansky, creating sets and costumes for Don Quixote (Dutch National Ballet); the world premiere of Lost Illusions (Bolshoi Ballet), for which Jérôme won a 2012 Golden Mask Award for Costume Design; Cinderella (The Australian Ballet); Paquita (Bavarian State Ballet); Swan Lake (Zürich Ballet in co-production with Teatro alla Scala); Serenade after Plato’s Symposium (American Ballet Theatre) and The Fairy’s Kiss for the Miami City Ballet.

In 2018 he designed Lucas Jervies' new production of Spartacus for The Australian Ballet; in 2019 he will design Stanton Welch's Sylvia, a co-production between Houston Ballet and The Australian Ballet.

Wendall K. Harrington is based in New York and has received numerous awards for her designs, which include The Who’s Tommy on Broadway, Driving Miss Daisy, Grey Gardens, The Capeman, Ragtime, The Will Rogers Follies, Putting It Together, Company, Freak, My One and Only, The Heidi Chronicles and They’re Playing Our Song. Off-Broadway, she has designed Angels in America, Hapgood, As Thousands Cheer and Merrily we Roll Along. Ballet designs include The Fairy’s Kiss, The Firebird, Opera, Pictures at an Exhibition and Anna Karenina for Alexei Ratmansky; Ballet Mécanique for Doug Varone; Othello for Lar Lubavich, and The Nutcracker for San Francisco Ballet, Houston Ballet and Miami Ballet.

For opera, she has designed Werther at the MET and Lucia di Lammermoor for La Opera as well as Rusalka, La Fancuilla, The Grapes of Wrath, The Turn of the Screw, Nixon in China and A View From the Bridge. Her designs have featured in the concerts of Chris Rock, Simon and Garfunkel, John Fogerty and Talking Heads, as well as in William Bolcom’s Songs of Innocence and Experience. The former design director of Esquire magazine, Wendall has created player introductions for the New York Knicks and Rangers as well as two fine daughters.

She lectures widely on projection design and heads the Projection Design concentration at the Yale School of Drama.

C R E AT I V E S


A S U R R E A L C I N D E R E L L A

From the moment the curtain rises on Alexei Ratmansky’s Cinderella, we enter a topsy-turvy dreamscape. Shoes flip into hats, a sofa is shaped into two plump lips, a door frame is slumped tipsily to one side, a footstool has human feet and topiary trees are transformed into metronomes.

This is a world of Surrealistic landscapes, inspired by the art of Salvador Dalí, René Magritte and Giorgio de Chirico, and by the eccentric designs of these artists’ collaborator, the couturier Elsa Schiaparelli.

Surrealism stalks through every scene of this Cinderella, from the heroine’s modest kitchen to the Prince’s lavish ballroom, from the arrival of the Planets who whisk Cinderella to the palace, to the Prince’s journey to find the missing slipper. There’s the voluptuous pink sofa, evoking the piece designed by Dalí and inspired by lips of the sex siren Mae West; the tick-tock of clocks (the Surrealists loved timepieces); shoe hats like those of Schiaparelli; and the relentless clicking hands of life-size metronomes based on Man Ray’s Indestructible Object.

Magritte’s favourite headpiece, the bowler hat, turns up on the head of the Fairy Godmother, who makes her first entrance as she steps through an empty picture frame like those often found in Magritte’s paintings.

In his initial conversations with Ratmansky, the French designer Jérôme Kaplan suggested that the ballet’s décor and costumes should refer to the age of Surrealism, the 1920s and 1930s. It was an intuitive decision, he said, to link the art movement with Prokofiev’s haunting score for Cinderella. Replaying the music, written in the darkest days of World War II, Kaplan found the mood “strange and sad, and it became very clear that this music was close to Surrealism.”

His idea for the first set was a stage within a stage. Kaplan imagined that the Stepmother, with her daughters and Cinderella, made their home in an old theatre, perhaps the only building that still stood after the bombing of a city. The décor included theatre props and sets that remained intact after the devastation, as well as objects that the Stepmother had acquired in more affluent times, including the Mae West Lips Sofa. The audience mightn’t completely understand the back-story of the setting, but the design “gives a mood”.

Cinderella’s rescuer, the Fairy Godmother, looks like a woman down on her luck. “Alexei asked me to dress the Godmother as a beggar,” said Kaplan, “not like a beautiful fairy. That’s why I designed this long coat and crazy nose, to make her a charming and funny beggar. Her bowler hat is another important aspect of Surrealism that you can see in the paintings of Magritte and Paul Delvaux.”

Kaplan planned to follow the traditional plot of the Cinderella ballet, in which soloists represent the Seasons, but Ratmansky suggested using planets instead. “The idea was to find something for each planet, something very clear that the audience would recognise.” Designing the costumes for the Moon and Sun was relatively easy, but Jupiter, Mars, Mercury, Venus, Saturn and Neptune, all named after gods, were harder to depict. Kaplan studied Roman and Greek images for gods and goddesses and based the costumes on their individual powers. The costume for Venus had aspects of the Goddess of Love, Neptune represented the sea, Mars was the God of War and Mercury was the Winged Messenger.

He worked with the help of The Australian Ballet’s wardrobe department and a freelance costume maker, David Anderson, who was “really creative”. Tulle fashioned into the shape of bowls formed the basis for the Planets’ costumes: “I remember one that was really very heavy to dance in. It made it difficult to jump. It actually weighed ten kilos.”

While the Planets represent a rainbow of colours, the Stepsisters, Dumpy and Skinny, and the Stepmother have signature colours that they wear throughout the ballet. Dumpy wears pink, Skinny jade green or teal, to make them stand out against the set. The Stepmother is dressed in shades of plum. “I often use this kind of tint for powerful and negative characters,” says Kaplan. I don’t know why. Maybe it comes from [the colours worn by] high dignitaries of the church.”

As the action enters the palace ballroom, the colour palette moves to a muted tone, with the men in long coats and the women in tuxedo suits of olive, chocolate, garnet and plum. Kaplan first chose a grey-and-pink colour scheme for the ballroom set but Ratmansky decided that was “a bit too sad and Soviet” and asked for a richer setting. Kaplan found the prototype for the ballroom during a visit to the museums of St Petersburg. There, in the green-and-gold

Malachite Hall of the Winter Palace, now part of the Hermitage Museum, was the answer to the richness Ratmansky wanted.

Cinderella enters the ballroom like a beam of light, wearing a statement dress with a skirt so lusciously full that it resembles a full-blown rose after the winter passes. The shape of the cinched-waist dress is a nod to post-World War II fashions, when women put aside their austere straight skirts and jackets and embraced the femininity of Christian Dior’s New Look.

“When Cinderella appears for the first time in front of the Prince she must be the most beautiful girl he has ever seen,” said Kaplan. “It’s difficult to create that clear contrast far away on stage with all those beautiful girls from The Australian Ballet around. That's why I thought that if Cinderella wore a ball gown shaped very much in the Dior New Look, and if the other women wore pants, the effect would be clear and successful.”

The dress is white (tulle) and gold (lamé) “because she must look immediately precious and pure”. When the other women see the Prince’s reaction to Cinderella in that look-at-me dress, they swap their tuxedos for romantic dresses similar in style to the heroine’s, but by then nothing can outshine the riveting Cinderella.

The most magical scene in the ballet takes place in the palace gardens, where topiary trees shed their greenery to reveal their inner selves: giant metronomes. “Alexei asked me for a garden for the ball. It was a great subject for me and it was logical to have topiary in the palace garden and that became much clearer when I found the idea of Man Ray’s metronome (Indestructible Object, 1923) – a perfect idea for midnight and a perfect shape for topiary. The idea came to me so easily, to tell you the truth. It was one of my first ideas.”

Kaplan is both witty and modest when he describes his process, revealing his “secret” design formula. It’s this: “To collect all the documents I can find on the general concept. Then with time, my mind starts to associate. A good designer is exactly like a good cook. Find first the good ingredients and organise well all together.”

Valerie Lawson is an author and dance historian

PLANETS, METRONOMES AND BOWLER HATS: JÉRÔME KAPLAN TALKS TO VALERIE LAWSON ABOUT HIS DESIGNS FOR CINDERELLA.



C E L E S T I A L B O D I E SWHY HAVE A PUMPKIN COACH WHEN YOU CAN HAVE STARS AND PLANETS? ALEXEI RATMANSKY'S CINDERELLA TRAVELS IN STYLE, THANKS TO JÉRÔME KAPLAN'S BRILLIANTLY INVENTIVE DESIGNS.

Artists of The Australian Ballet. Photography Daniel Boud

Jade Wood, Cameron Hunter and Jill Ogai. Photography Jeff Busby


Rina Nemoto, Brodie James, Imogen Chapman and Natasha Kusen. Photography Daniel Boud

Karen Nanasca and Nathan Brook. Photography Daniel Boud

Imogen Chapman. Photography Daniel Boud


M U S I C N O T E

Why isn’t the Cinderella score as well known as other ballet scores?

Prokofiev’s Romeo and Juliet is the score that everyone knows, and one of the best ballet scores. Cinderella is probably less approachable, but I actually think it’s a much better score, and there’s a lot more of Prokofiev in Cinderella than there is in Romeo and Juliet. At the time he was writing Romeo and Juliet, in Russia in the 1930s, every work of art had to go through a panel of experts to be approved. They ruled that Prokofiev hadn’t illustrated Romeo and Juliet richly and lushly enough, so it was re-orchestrated by a variety of other composers. He had to accept it, and it was a much bigger, lusher orchestration than what he’d actually written. So it’s not all Prokofiev, and not all how he originally wrote it.

How did the political situation of the 1940s influence the Cinderella score?

While Prokofiev was writing the score WWII broke out, then in 1941 Hitler turned on Russia and invaded. Prokofiev had made a start on the score but then he, along with all artists, was evacuated from St Petersburg to the southern states. This was to keep them safe from the war. And he turned to writing the opera of War and Peace instead, which was deemed to have greater national importance. When he returned to Cinderella Russia had been through the siege of Leningrad, very dark times. It wasn’t a happy environment in which to be writing a happy fairytale. So what was happening in the country influenced his take.

Politically as well, it was still Soviet Russia, still the same controls, only stronger during war time, about what was permissible and what art could and couldn’t say. If you think about the traditional story where Cinderella goes to the ball and is rescued from her poor life by the royal court – they would never have been able to portray that in Soviet Russia. The Soviets got rid of the royals and the royal court. So what they created is a version in which Cinderella is a misfit in her environment, with a horrible stepmother and stepsisters – that’s all the same – but she’s not a depressed Cinderella, she’s feisty. And the Prince is also a misfit in his environment. It’s even written in the score that when he first appears he bursts on stage, and it’s quite clear from the music and from the way choreographer Alexei Ratmansky has created it that he’s totally different from everyone else in the court.

Cinderella has three themes, which change as her story develops?

Yes: the opening theme we come across in Cinderella is in a minor-key theme, not the beautiful theme that audiences might expect. So immediately you get a sense of the sadness and starkness. And that’s the first of Cinderella’s own themes. The structure of the melody itself creates a kind of character, giving you an idea of environment: the overture starts with a huge leap, an octave leap, that gives you a sense of emptiness, a sense of bleakness.

The second Cinderella theme is in the key of C. There’s an understanding that every key will make you feel something different – so C major is quite different to E major. C major is often used for the grand royal theme, there’s a sense of solidity and coming home. But because there are no black notes, or sharps, it gives a sense of simplicity. It’s the most important key in the ending of Romeo and Juliet, when after all the tragedy the music resolves with C major.

And so it is in Cinderella. The love duet at the end of Act II is in C major. It’s a key of childlike simplicity with an accompaniment that is traditional and melodic, and gives a real sense of beauty and happiness. This second Cinderella theme comes back a lot, in different keys, with different orchestrations, to indicate that different things are happening. It’s quite different to the first theme with its stark bleakness.

And then there’s a third one, also in the key of C major, again reflecting an almost childlike feel. It uses a limited range and comes in on a flute, quite a girly instrument, like Juliet’s theme in Romeo and Juliet. The flute, like the pan pipe, gives you that back-to-nature theme. Yet there’s a harmonic change of colour that suggests there’s more to her than just being a pretty girl. And the way that theme develops isn’t straightforward, the accompaniment isn’t straight unison, it becomes more complex, giving you an idea this is a living, breathing girl.

Dimity Azoury with artists of The Australian Ballet Photography Daniel Boud

MUSIC DIRECTOR & CHIEF CONDUCTOR NICOLETTE FRAILLON TELLS JANE ALBERT WHY PROKOFIEV’S SCORE FOR CINDERELLA IS HIS MASTERPIECE.


Which other characters have their own themes in Cinderella?

The Fairy Godmother has a few themes that characterise her, fragments of which appear in different keys and with different instruments whenever she appears or whenever there’s magic afoot. Her theme appears in oboe, or piccolo/oboe. Piccolo is not usually used as a solo instrument; and the oboe has an otherworldly character, a nasal character, so it’s an odd choice of instruments and makes it clear there’s something else afoot. Underneath that is a cymbal, with flutes, and harp – which Tchaikovsky used to suggest magic. Prokofiev uses tremolo (where you bow the strings up and down very fast) for a shimmering effect; and there is tuba underneath. So again, there is nothing in the middle registers, which gives that otherworldly feel.

Orchestration is also used to great effect when characterising the Stepsisters and the Stepmother. From the very first time they appear on stage there’s a vicious attack roll on a tambourine, it’s as if they’re hissing at Cinderella; and a very nasty angular melody that’s quite dissonant and aggressive rhythmically, with no resolution. Prokofiev writes an uncomfortable register on the celli, an angular melody on the oboe, and the poor old first trumpet is given this terribly hard piece to play, so he almost spits it out because it’s so hard, giving that aggressive, nasty, clumsy sound. These are not graceful folk. Even if you had no visuals you would know the ugly crew had come on stage and someone is being nasty!

The prince’s melody is way more down to earth, heralded by trumpets and more traditional, noble brass writing. And every time it’s played it’s a beautiful sound, there’s nothing nasty or discordant about it.

When Cinderella first dances with the Prince, how does Prokofiev use melody to set the scene?

It’s their first pas de deux, so you would expect it to be sweet and romantic. But Prokofiev has actually written such a big melodic span that it’s really unsettling. You’re not even sure what key you’re in – it’s a broad-ranging, scared yet exciting melody. It’s such a brilliant depiction of all the emotions that must be flooding both their brains. It’s definitely not the Disney, saccharine, “isn’t love beautiful?” music – it constantly sweeps you in different directions, just as their emotions are doing to them.

Then he introduces the oboe, which is not the traditional romantic instrument, and it becomes almost aggressive; then romantic again; then off the rails. And you’re left wondering, “is he sweeping her into that nasty court world?” The end in E major is slightly more reassuring as they walk off arm in arm, so you have a sense it might be all right in the end.

Jane Albert is an author and freelance journalist specialising in the arts

Thank you to our Official Piano Partner Kawai, who supplied the grand pianos played in these performances of Cinderella.

C O N D U C T O R S

NICOLETTE FRAILLON AM

Nicolette Fraillon began her music studies on violin and piano at an early age. At 16 she conducted her first concert with the Victorian Junior Symphony Orchestra. She graduated on viola from Melbourne University in 1982, gaining an equal first place in her year in Performance. From 1984–87 she furthered her instrumental studies at the Hochschule für Musik in Vienna and from 1987–88 in Hannover. During her time in Germany and Austria Nicolette toured with many orchestras, including the Salzburger Chamber Ensemble and the Chamber Orchestra of Bassano, and was a member of the Haydn Quartet, based at the Esterhazy Palace in Eisenstadt.

In 1990 Nicolette moved to the Netherlands, where she became assistant musical director for the 1991–92 season of Les Misérables in Amsterdam and The Hague. In 1992 she was admitted to the Netherlands Broadcasting Association’s International Conductors’ Masterclass, resulting in a performance with the Dutch Radio Symphony Orchestra in the Concertgebouw in Amsterdam. This led to an invitation to conduct for the Nederlands Dans Theater. She was then invited to become music director and chief conductor of the National Ballet of the Netherlands, working with such renowned choreographers as Hans van Manen, Toer van Schayk, Rudi van Dantzig and Krzysztof Pastor, and conducting numerous world premieres. During the following five years she worked with the North Holland Philharmonic Orchestra, the New Sinfonietta Amsterdam, Noord Nederlands Orchestra, the Gelders Orchestra in Arnhem, the Limburg Symphony Orchestra, the Residentie Orchestra in The Hague, the Kanazawa Chamber Orchestra in Japan, and the Finnish Ballet.

In 1998 she took up the position of Director at the School of Music, Australian National University, and continued her conducting work with the West Australian Ballet, the West Australian Symphony Orchestra, the Australian Youth Orchestra and the Canberra Symphony Orchestra.

She debuted with The Australian Ballet in 2002, conducting Spartacus, and was then invited by David McAllister to become music director and chief conductor, beginning in January 2003. Since joining the company, Nicolette has conducted all programs for The Australian Ballet, including all of its overseas tours, and has been a guest conductor for San Francisco Ballet. Following The Australian Ballet’s 2005 tour to the UK, Nicolette was, in 2006, invited back to conduct The Sleeping Beauty with Birmingham Royal Ballet. She conducted the ballet again on Birmingham Royal Ballet’s 2018 tour of Japan. In 2007 she guested with New York City Ballet. In 2008 she returned to the Birmingham Royal Ballet for a season of The Nutcracker, then finished the year with a New Year’s Gala in Skopje with the Macedonian Philharmonic Orchestra. In early 2011 Nicolette guested with San Francisco Ballet, conducting their production of Giselle; in 2014 she guested with New York City Ballet. In 2016 she conducted the opening night of Birmingham Royal Ballet’s production of Peter Wright’s The Nutcracker, which was also the choreographer’s 90th birthday.

Since 2014, Nicolette has also been artistic director of Orchestra Victoria, establishing new concert series, education programs and two regional music festivals.

Music Director & Chief Conductor

SIMON THEW

Simon Thew has undertaken conducting studies in Sydney, Vienna, Berlin, and Barcelona with mentors including Sebastian Weigle, Nicolette Fraillon, Harry Spence Lyth, Richard Bonynge, and John Hopkins.

In 2007 Simon was awarded the Dame Joan Sutherland/Richard Bonynge Travel Scholarship, which enabled further study in Europe, culminating in his position as musical intern at the Bayreuth Festival in 2008.

In 2010 he was awarded the Hephzibah Tintner Fellowship, which gave him performance and mentoring opportunities with The Australian Ballet, Opera Australia, and the Sydney Symphony. Simon was The Australian Ballet’s Conducting Fellow in 2011, and in the same year was awarded a Churchill Fellowship. This enabled him to undertake professional development opportu-nities with ballet companies, opera houses and orchestras in London, Birmingham, Vienna, Berlin, and New York across 2012.

Simon was an assistant conductor with Opera Australia from 2007 – 2010. In 2010 he conducted Opera Australia’s Oz Opera regional tour, and in the same year made his conducting debut with The Australian Ballet. In 2012 he acted as assistant conductor on the company’s New York tour.

Simon was a regular guest conductor with The Australian Ballet between 2013 and 2016. He conducted performances in most of the company's seasons during that time. In 2017 he accepted an invitation to become The Australian Ballet’s assistant conductor. He has also worked as a guest conductor for English National Ballet, Birmingham Royal Ballet and Houston Ballet.

He has an active concert-conducting career and is committed to the education of young conductors and instrumentalists.

Conductor


Feel at home all the way thereHatice Kaynak, Qantas Cabin Crew

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What is your history with the ballet version of Cinderella?

I saw the Paris Opera Ballet perform Nureyev’s Cinderella – in Paris – in 2011. I had been awarded a professional development scholarship to travel around Europe and see performances and take classes with different ballet companies. I saw a lot of ballet on that trip, but Cinderella stood out, and I fell in love with Prokofiev’s score. Perhaps because it’s a story that I had watched and loved since I was a very young girl, I just loved that performance.

You made your debut as Cinderella last year in Sydney. What do you like about dancing the role?

Once it begins, you really feel like you’re being transported into the story, it’s very magical. You step out into the first act, and the way the set is designed you can’t really see the wings from the stage, so you feel like you’re really in Cinderella’s house.

After my first performance, I came out of the Opera House and I could see budding ballerinas, tiny girls, leaping and dancing and twirling. It was really rewarding, to come out and see that we’d really touched people and brought them joy. It makes all the hard work seem worthwhile.

What was it like to be part of the Cinderella creation process with Alexei Ratmansky, back in 2013 when you were a coryphée?

It was amazing how he got the dancers to move. There are a lot of off-axis balances, a lot pushing and pulling, and throwing your body one way while your limbs go another way.

You performed the lead role in Giselle in the 2017 regional tour. What were the highlights from that tour?

Performing in Hobart in the amazing theatre there! That was my very first show. I was dancing with Jake Mangakahia, and I remember how surreal it felt to be actually performing a role that I had only ever dreamed of.

I was very emotional at the end of that tour, looking back on all the incredible experiences.

Who inspires you?

I’m constantly inspired by many different people! When I was preparing for the role of Cinderella, I was in rehearsals with many dancers who had performed the role before. It was so wonderful to see how they worked and to learn from them, particularly Leanne Stojmenov, as the role was created on her. She had many tips and tricks to share and a beautiful free movement quality, and an amazing way of using her head and upper body in the Ratmansky style.

I’ve always loved Leanne, and also Amber Scott. I’ve loved a lot of The Australian Ballet’s dancers: Kirsty Martin is another. I’m also a huge fan of The Royal Ballet’s Marianela Nuñez.I’ve recently been watching the tennis, as the Australian Open has been on. I love Roger Federer and find watching all the tennis players very inspiring. I used to watch tennis with my Grandma when I was younger.

What does an ideal day off look like for you?

Breakfast and coffee with my husband at one of my favourite local cafes in Middle Park, then a trip to South Melbourne Market to stock up on some essentials – and some other, not-so-essential items, like fresh flowers. Then a swim, or a walk along the beach, followed by some hokey pokey ice cream from Jock’s Ice Creamery.

C L O S E U P : S H A R N I S P E N C E RSOLOIST SHARNI SPENCER TELLS CHLOE GORDON ABOUT DEBUTING AS CINDERELLA, HER INSPIRATIONS AND HER IDEAL DAY OFF.

Photography Daniel Boud

Feel at home all the way thereHatice Kaynak, Qantas Cabin Crew

qantas.com


Brett Chynoweth was born in Melbourne. At age five, he began training at a local ballet school. He soon moved to The Australian Ballet School, where he received, among other awards, the Dr HC (Nuggett) Coombes Travelling Scholarship, which enabled him to train in New York and Toronto. He graduated dux from The Australian Ballet School with honours and joined The Australian Ballet at the beginning of 2000; he was promoted to principal artist on stage at the end of the 2018 season in his home town of Melbourne. Since joining The Australian Ballet, Brett has performed a variety of classical and contemporary works by choreographers such as Carlos Acosta, Nacho Duato, Tim Harbour, Jirí Kylián, Wayne McGregor, Graeme Murphy and Alexei Ratmansky, and his principal roles include works by some of the greats - Frederick Ashton, George Balanchine, Serge Lifar, Kenneth MacMillan, Christopher Wheeldon and Peter Wright.

Repertoire highlights — Prince Désiré in David McAllister's The Sleeping Beauty 2018,

2017, 2015— Wayne McGregor’s Infra (2017), Chroma (2014) and Dyad 1929

(2013)— Viktor Gvosky's Grand pas classique 2017, 2016— Franz in Peggy van Praagh's Coppélia 2016— Puck in Frederick Ashton's The Dream 2015— The Prince in Peter Wright's The Nutcracker 2014— Lescaut in Sir Kenneth MacMillan's Manon 2014— Mazurka in Serge Lifar's Suite en blanc 2014

Guest appearances — The Prince in Peter Wright's The Nutcracker, Birmingham

Royal Ballet 2018

Awards — Walter Bourke Scholarship 2013— Telstra Ballet Dancer Award Nominee 2011— Maurice Sullivan Memorial Scholarship 2011/12

You may not know ... Brett's favourite city is London: so much so, he once flew there for 24 hours just to see a show at the Royal Opera House.

Growing up in China, Chengwu Guo began dance classes at the age of eleven. He was accepted into the Beijing Dance Academy where he was able to combine his ballet training with academic studies. Chen’s talent for ballet was soon evident when he received a gold medal at the Tao Li Bei of China Competition, and also at the Beijing International Competition. In 2006 Chen became a prize winner at the prestigious Prix de Lausanne competition in Switzerland, receiving a full scholarship to complete his vocational ballet training. He chose to take up this scholarship at The Australian Ballet School. During his time at the School Chen toured regional Australia with The Dancers Company, and received glowing reviews for his roles in The Sleeping Beauty, Graduation Ball and Coppélia. Chen joined The Australian Ballet in 2008 and was promoted to principal artist in 2013.

Repertoire highlights — Albrecht in Maina Gielgud’s Giselle 2015 — Puck in Frederick Ashton’s The Dream 2015 — Solor in Stanton Welch’s La Bayadère 2014 — The Prince in Peter Wright’s The Nutcracker 2014 — Basilio in Rudolf Nureyev’s Don Quixote 2013 — Principal Man, Mazurka, in Harald Lander's Études 2012 — Mercutio and Tybalt in Graeme Murphy’s Romeo & Juliet 2011 — First Red Knight in Ninette de Valois’ Checkmate 2011 — Sir Kenneth MacMillan’s Concerto 2011 — Graeme Murphy’s Firebird 2009

Guest appearances — The Dancers Company tour 2008

Awards — Green Room Award nomination for Don Quixote and La Sylphide 2013 — Maurice Sullivan Scholarship 2013 — Telstra Ballet Dancer Award and Telstra People’s Choice Award 2011

You may not know ... Chengwu likes to watch Japanese anime in his spare time.

“A very special artist” Arts writer Deborah Jones

“explosive energy”The Age

Adam Bull's principal artist position is generously supported by Lachlan & Sarah Murdoch

Adam Bull was born in 1981 and began training at Dance World 301 with Brian Nolan before joining The Australian Ballet School. In 2000, he represented Australia in the Paris International Ballet Competition, before graduating from The Australian Ballet School with honours in 2001. Adam joined The Australian Ballet in 2002, going on to dance in many leading roles. After just six months as a senior artist, Adam was promoted to principal artist in June 2008, capping off a string of critically acclaimed lead performances. Adam has danced a vast range of the male classical repertoire; he has a fondness for works by George Balanchine, Sir Kenneth MacMillan, Graeme Murphy, Alexei Ratmansky, Christopher Wheeldon and Wayne McGregor. Performing in principal lead roles on the company’s tours to Paris, London, New York, Los Angeles and Japan have been career highlights.

Repertoire highlights — Albrecht in Maina Gielgud's Giselle 2015, 2006 — Prince Siegfried in Graeme Murphy’s Swan Lake 2008 – 2015 — des Grieux in Sir Kenneth MacMillan’s Manon 2014, 2008 — The Prince in Peter Wright’s The Nutcracker 2014, 2010, 2007 — James in La Sylphide 2013, 2005 — The Prince in Alexei Ratmansky’s Cinderella, 2013 — Prince Siegfried in Stephen Baynes’ Swan Lake 2013, 2012 — Onegin in John Cranko’s Onegin 2012 — Bedroom Pas de deux from Sir Kenneth MacMillan’s Manon

with American Ballet Theatre’s Julie Kent, The Australian Ballet 50th Anniversary Gala, 2012

— Danilo in Ronald Hynd’s The Merry Widow 2011

Guest appearances — Cinderella Pas de deux, Northern Ballet Sapphire Gala 2015 — Prince Siegfried in Derek Deane’s Swan Lake, Shanghai Ballet 2014 — 1st Chinese International Ballet Gala 2013 — Fall for Dance Festival, New York 2011 — Stuttgart Ballet 50th Anniversary Gala 2011 — The Dancers Company tour 2006

Awards — Green Room Award 'Year’s Work' nomination 2009 — Benois de la Danse Best Male Dancer nomination for Graeme Murphy’s Swan Lake 2009 — Khitercs Hirai Foundation Scholarship 2009 — Green Room Award nomination for Albrecht in Giselle 2006

You may not know ... “I have ticked off a lifelong dream of visiting the Antarctic

continent, doing so in our summer break at the end of 2009. Landing at the same site as the famous Australian explorer Sir Douglas Mawson was an awe-inspiring and life-changing experience.”

“Tender and self-deprecating … a true danseur noble” The Observer, UK

ADAM BULL BRETT CHYNOWETH CHENGWU GUO

P R I N C I PA L A R T I S T S


“Serene beauty” Arts Writer Deborah Jones

“Flawless technique” The Daily Telegraph

ROBYN HENDRICKSAMY HARRIS

South African-born Robyn Hendricks began ballet classes aged eight after her grandfather observed her dancing on her toes all the time. Growing up in an academic family, Robyn was the first family member to pursue a creative passion. Training in the Cecchetti Syllabus, Robyn travelled to Melbourne in 2001 to participate in the annual Cecchetti International Competition. During the competition, she was approached by The Australian Ballet School and was asked to audition formally for entrance into the prestigious national school. During her time at The Australian Ballet School, Robyn was one of four students selected to participate in a student exchange to Canada, where she studied for four weeks with the National Ballet School in Toronto. She joined The Australian Ballet in 2005; she was promoted to soloist in 2011, to senior artist in 2016, and to principal artist the same year.

Repertoire highlights — Gamzatti in Stanton Welch's La Bayadère 2014 — Wayne McGregor's Chroma 2014 — Jirí Kylián’s Petite Mort 2014, 2005 — Cigarette solo in Serge Lifar’s Suite en blanc 2014 — Second Ballerina in George Balanchine's Ballet Imperial 2014 — Black Swan Pas de deux 2012 — Principal Lady in Paquita 2014 — Christopher Wheeldon's After the Rain© 2011 — Wayne McGregor's Dyad 1929 2009 — Nacho Duato's Por vos muero 2009

Guest appearances — Fall for Dance Festival 2014, 2012 — The Dancers Company tour 2014, 2008

Awards — Telstra Ballet Dancer Award nominee 2015, 2011, 2009, 2007

You may not know ... Robyn is interested in the horse-breeding industry

and owns a horse with her husband Charles Thompson, a former member of The Australian Ballet.

Amy Harris was born in Ararat, Victoria and began jazz and tap classes at her local ballet school at the age of three. From the age of ten, Amy trained in the Cecchetti method with the Carole Oliver School of Ballet in Ballarat, and as a Cecchetti scholar she won bronze and silver medals. In 1999, aged 15, Amy successfully auditioned for The Australian Ballet School. She joined The Australian Ballet in 2002 and was promoted to coryphée in 2007, soloist in 2011 and senior artist in 2012. In 2018 she was promoted to principal artist on stage after her performance as Tertulla in the world premiere of Lucas Jervies' Spartacus.

Repertoire highlights — The Queen of Hearts in Christopher Wheeldon's Alice's

Adventures in Wonderland© 2017— Wayne McGregor’s Infra 2017— Aurora and the Lilac Fairy in David McAllister's The Sleeping

Beauty 2017— The Stepmother in Alexei Ratmansky's Cinderella 2016— Baroness von Rothbart in Graeme Murphy's Swan Lake 2016— William Forsythe's In the Middle, Somewhat Elevated 2016— Swanilda in Peggy van Praagh’s Coppélia 2016 — Romola in John Neumeier's Nijinsky 2016— Twyla Tharp's In the Upper Room 2015— Hanna in The Merry Widow 2011

Guest appearances — Principal Lady in Paquita and Odile in Swan Lake, The Dancers

Company tour 2013

Awards — Telstra Ballet Dancer Award 2012— Telstra People’s Choice Award 2008, 2010

You may not know ... Amy is married to fellow dancer Jarryd Madden, and they have a daughter, Willow Ava Madden.

Kevin Jackson’s principal artist position is generously supported by Lynnette Harvey

Born in Perth, Kevin commenced his dance training at the age of seven with the Shirley Farrell Academy of Dance. In 2002 he graduated from The Australian Ballet School; he joined The Australian Ballet in 2003 and was promoted to principal artist in 2010. In his time with the company, he has performed many lead roles in both classical and contemporary works by choreographers including John Neumeier, Alexei Ratmansky, Wayne McGregor, Jirí Kylián and Graeme Murphy. Kevin enjoys the technique and artistry demanded by many different works but holds the story ballet closest to his heart.

Repertoire highlights — Vaslav Nijinsky in John Neumeier's Nijinsky 2016 — Prince Désiré in David McAllister's The Sleeping Beauty 2015 — Albrecht in Maina Gielgud’s Giselle 2015 — Oberon in Frederick Ashton’s The Dream 2015 — Onegin and Lenksy in John Cranko’s Onegin 2012 — des Grieux in Sir Kenneth MacMillan’s Manon 2014, 2008 — Prince Siegfried in Graeme Murphy’s Swan Lake 2014, 2013, 2009 — Romeo in Graeme Murphy's Romeo & Juliet 2011 — Jerome Robbins’ A Suite of Dances 2008 — George Balanchine’s Apollo 2007

Guest appearances — The Prince in Stanton Welch's The Nutcracker, Houston Ballet 2016 — des Grieux in Kenneth MacMillan's Manon, American Ballet Theatre (exchange artist) 2014 — Lucas Jervies' Human/Abstract, JACK Productions, 2010

Awards — Nomination for the Benois de la Danse award for

Jack/Knave in Christopher Wheeldon's Alice's Adventures in Wonderland©, 2017

— Helpmann Award for Best Male Dancer, Nijinsky, 2017 — Telstra Ballet Dancer Award 2008 — Khitercs Hirai Foundation Scholarship 2007

Choreographic works — Encomium for Bodytorque.Muses 2011 — Enter Closer for Bodytorque.2.2 2009

You may not know ... Kevin holds a Vocational Graduate Diploma in Elite Dance Instruction from The Australian Ballet School, and has a keen interest in teaching the next generation of dancers.

“Jackson is a delightfully impulsive Romeo, all boyish charm and passion” The West Australian

KEVIN JACKSON


P R I N C I PA L A R T I S T S

“Poised and elegant”The Age

“Attains impressive heights”New Zealand Theatre Review

TY KING-WALL AKO KONDO

Born in Waihi, New Zealand, Ty King-Wall started dancing at the age of seven. He received his early ballet training at the Dance Education Centre in Tauranga. A Junior Associate of the New Zealand School of Dance, he left New Zealand at 16 to study full-time at The Australian Ballet School. Upon graduating dux with honours, Ty was accepted into The Australian Ballet in 2006. Since joining the company, Ty has danced numerous principal roles, and had the role of Ceyx created on him in Tim Harbour’s Halcyon. He was promoted to soloist in 2010, to senior artist in 2011, and to principal artist in 2013.

Repertoire highlights — Albrecht in Maina Gielgud’s Giselle 2015 — Solor in Stanton Welch’s La Bayadère 2014 — Basilio in Rudolf Nureyev’s Don Quixote 2013 — Principal Man in Harald Lander’s Études 2012 — Prince Siegfried in Stephen Baynes’ Swan Lake 2012 — Lensky in John Cranko’s Onegin 2012 — Pinkerton in Stanton Welch’s Madame Butterfly 2011 — The Prince in Peter Wright’s The Nutcracker 2014, 2010 — Franz in Peggy van Praagh’s Coppélia 2010 — Prince Florimund in Stanton Welch’s The Sleeping Beauty 2015

Awards — Telstra Ballet Dancer Award 2010 — Khitercs Hirai Foundation Scholarship 2013 — Lissa Black Scholarship 2011 — Silver Medal, Asia Pacific International Ballet Competition 2005 — PACANZ Young Performer of the Year Award 2002

Guest appearances — Prince Siegfried in Russell Kerr’s Swan Lake with Royal New Zealand Ballet 2013 — Les Sylphides and Aurora’s Wedding, The Dancers Company tour 2008

You may not know ... Ty is an avid follower of cricket, rugby union and AFL.

He is also a long-time fan of Hergé’s The Adventures of Tintin comics, and wants to start brewing his own beer.

Ako was born in Nagoya, Japan in 1991. At three years old she began her training at the Shiho Kanazawa Ballet Studio. In 2005 Ako won second prize at the Japan Grand Prix, and in 2006 she studied at The Royal Ballet School’s International Summer School. In 2007 she was awarded The Australian Ballet School Tuition Scholarship, which was announced at the Youth America Grand Prix. Ako toured with The Dancers Company in 2008 and in 2010 joined The Australian Ballet. She was promoted to principal artist in April 2015 following her debut as Giselle, becoming The Australian Ballet's first Japanese principal artist.

Since joining The Australian Ballet, Ako has performed a variety of classical and contemporary works by choreographers such as Forsythe, McGregor, Murphy, Ratmansky and Wheeldon, and danced principal roles in ballets by choreographers such as Ashton, Balanchine, Lifar, MacMillan and Wright.

Repertoire highlights — Alice in Christopher Wheeldon's Alice's Adventures in Wonderland© 2017 — Wayne McGregor's Infra 2017 — Aurora in David McAllister's The Sleeping Beauty 2017, 2015 — Swanilda in Peggy van Praagh's Coppélia 2016 — Odette/Odile in Stephen Baynes' Swan Lake 2016 — William Forsythe's In the Middle, Somewhat Elevated 2016 — Cinderella in Alexei Ratmansky's Cinderella 2015 — Giselle in Maina Gielgud’s Giselle 2015 — Lescaut’s Mistress in Kenneth MacMillan’s Manon 2014 — Kitri in Rudolf Nureyev's Don Quixote 2013

Guest appearances — Odette/Odile in Derek Deane's Swan Lake, Shanghai Ballet 2017 — Yokohama Ballet Festival 2017, 2016 — The Dancers Company tour 2012, 2011

Awards — Helpmann Award for Best Female Dancer for Christopher Wheeldon's Alice's Adventures in Wonderland© 2018— Nomination for Australian Dance Award for Outstanding Performance by a Female Dancer for Christopher Wheeldon's Alice's Adventures in Wonderland© 2018— Nomination for the Benois de la Danse for Alice in Christopher Wheeldon's Alice's Adventures in Wonderland© 2017— Australian Dance Award for Outstanding Performance by a

Female Dancer in Peggy Peggy van Praagh's Coppélia 2016— Telstra Ballet Dancer Award nominee 2015, 2012— Susan Morgan Scholarship 2013 You may not know ... Ako is currently learning her third language, Chinese,

and plans to learn more languages in the future.

Melbourne-born Andrew Killian, a student of The Australian Ballet School, joined The Australian Ballet in 2000 and was promoted to principal artist in 2011. During his time with The Australian Ballet Andrew has thoroughly enjoyed performing leading roles in the company’s extensive classical repertoire including Lescaut in Sir Kenneth MacMillan’s Manon, the Prince in Peter Wright’s The Nutcracker, Prince Siegfried in Stephen Baynes’ Swan Lake and the Cavalier in George Balanchine’s Ballet Imperial. Andrew has also been involved in the creation of many new works including Stephen Baynes’ Constant Variants and Tim Harbour’s Wa, and has performed in most of The Australian Ballet’s Bodytorque seasons. He enjoys working closely with choreographers and offers a unique versatility that places him in high demand. Andrew has toured with The Australian Ballet to Auckland, Tokyo, Shanghai, New York, Los Angeles, London and Paris.

Repertoire highlights — Prince Siegfried in Graeme Murphy’s Swan Lake 2015, 2014 — Wayne McGregor’s Chroma and Dyad 1929 2014, 2013 — Lescaut in Sir Kenneth MacMillan’s Manon 2014, 2008 — Jirí Kylián’s Petite Mort and Bella Figura 2014, 2013 — Christopher Wheeldon’s After the Rain© 2011, 2007 — The Prince in Peter Wright’s The Nutcracker 2010 — Jerome Robbins’ A Suite of Dances and The Cage 2008 — Stephen Page’s Rites 2008 — Jirí Kylián’s Stepping Stones 2005 and Forgotten Land 2016, 2005

Awards — Green Room Award ‘Year’s Work’ nomination 2012 — Telstra Ballet Dancer Award nominee 2009, 2006

Guest appearances — Fool’s Paradise with Morphoses 2009 — The Nutcracker with Houston Ballet 2007

You may not know ... Andrew is still struggling to learn how to cook and cried like a baby at his best friend’s wedding.

“Immaculate and debonair”Dance Australia

ANDREW KILLIAN


“Alluring calmness and superb artistry”Fjord Review

AMBER SCOTT

Amber Scott’s principal artist position is generously supported by Barbara Duhig

Amber Scott joined The Australian Ballet School at age eleven. After graduating as dux, she joined The Australian Ballet in 2001. In 2003 she spent four months on a dancer exchange at the Royal Danish Ballet, giving her the opportunity to learn the Bournonville technique firsthand. Amber was promoted to principal artist in 2011 after performing the Second Movement from Sir Kenneth MacMillan’s Concerto. Career highlights include working with Wayne McGregor on Dyad 1929 and Chroma; dancing with Robert Tewsley during the 2008 Manon season, Damian Smith in Christopher Wheeldon’s After the Rain© Pas de deux in 2012 and David Hallberg in Alexei Ratmansky’s Cinderella in 2013.

Repertoire highlights — Swanilda in Peggy van Praagh’s Coppélia (with David Hallberg of American Ballet Theatre) 2016 — Aurora and the Lilac Fairy in David McAllister’s The Sleeping Beauty 2015 — Giselle in Maina Gielgud’s Giselle 2015 — Nikiya in Stanton Welch’s La Bayadère 2014 — The Sugar Plum Fairy in Peter Wright’s The Nutcracker 2014, 2010 — Odette/Odile in Stephen Baynes’ Swan Lake 2013, 2012 — Odette in Graeme Murphy’s Swan Lake 2004 – 2015 — Manon in Sir Kenneth MacMillan’s Manon 2014, 2008 — Tatiana in John Cranko's Onegin 2012 — Hanna in Ronald Hynd's The Merry Widow 2011

Awards — Helpmann Award nomination for Stephen Baynes’ Swan Lake 2013 — Telstra Ballet Dancer Award and Telstra People's Choice Award 2004 — First Place Junior Asian Pacific Competition, Tokyo 1999 — Adeline Genée Awards, bronze medal 1998

Guest appearances — Odette/Odile in Derek Deane’s Swan Lake with the Shanghai Ballet 2014 — National Ballet of China International Gala 2013 — Odette/Odile in Russell Kerr's Swan Lake with Royal New Zealand Ballet 2013 — Fall for Dance Festival, New York City (Glen Tetley's Gemini) 2011 — The Stuttgart Ballet's 50th Anniversary Gala (Molto Vivace Pas de deux) 2011

You may not know ... Amber first danced with David Hallberg, principal dancer

of American Ballet Theatre, in The Australian Ballet’s 2013 Sydney season of Alexei Ratmansky’s Cinderella. In 2016, she again partnered David in the company’s Sydney season of Coppélia, his first performances after a two-and-a-half-year break recovering from injury.

NSW/QLDHayley BaillieMrs Barbara BedwellMrs Susan Chisholm Mrs Bar CohenMrs Shanny CrouchMrs Gordon Douglass AMMrs Jane FreudensteinBozena GawartMrs Lynnette HarveyRoland HowlettFrances InghamSarah Ingham Mrs Loraine McLarenMrs Helen O'NeilMrs Roslyn Packer ACDr Valmai Pidgeon AMMrs Nancy Reardon-FonsecaMrs Kelly Wyborn

VICMrs Mary BarlowMrs Di BertalliLisa BolteMs Natasha BownessMs Robin CampbellAngie CarterMrs Maureen CrawfordMrs Annette DavisAlane FinemanPrue Gillies AMMs Val HardingMs Linda HerdRosie LewMs Jodie MaunderLady Potter AC CMRILinton Soderholm

PRINCIPAL ARTISTS GENEROUSLY SUPPORTED BY LES ÉTOILES


DIMITY AZOURY

Dimity Azoury began dancing at the age of four in her home town of Queanbeyan, NSW. She studied for eleven years at the Kim Harvey School of Dance in Canberra before moving to The Australian Ballet School in 2005. She was accepted into The Australian Ballet in 2008, where she had the opportunity to travel to Paris, London, New York, Japan, San Francisco and Los Angeles. She has loved working with many choreog-raphers including Nicolo Fonte, Graeme Murphy, Tim Harbour, Stephen Page and Stephen Baynes. Dimity was promoted to soloist in 2015 following her debut as Baroness von Rothbart in Graeme Murphy’s Swan Lake, and to senior artist in 2017.

Repertoire highlights — Alice in Christopher

Wheeldon's Alice's Adventures in Wonderland© 2017

— Aurora in David McAllister's The Sleeping Beauty 2017

— Clara in Graeme Murphy's Nutcracker – The Story of Clara 2017

— Wayne McGregor's Infra 2017

— Swanilda in Peggy van Praagh's Coppélia 2016

— Baroness von Rothbart in Graeme Murphy's Swan Lake 2016, 2015

— Tim Harbour's Filigree and Shadow 2015

— Twyla Tharp's In the Upper Room 2015

— Myrtha in Maina Gielgud's Giselle 2015

— Jirí Kylián's Bella Figura 2013

Awards — Telstra Ballet Dancer

Award, 2014— Telstra Ballet Dancer

Award nominee 2012

— Susan Morgan Scholarship 2012

You may not know ... Dimity loves animals, especially wombats, giant anteaters and draft horses.

S E N I O R A R T I S T S

“deliciously precise”

Simon Parris: Man in Chair

“Superb”

The Daily Telegraph

“sweetness, buoyancy and freedom”

Arts writer Deborah Jones

“fresh and alluring”

Bachtrack

“fleet-footed precision”

Sydney Morning Herald

“a true delight”

Bachtrack

JARRYD MADDEN

Encouraged by his dance teacher mother, Jarryd Madden started dancing at the age of three at his local dance school in Wauchope, NSW. He remained there until 2005 when, age 16, he joined Melbourne’s National Theatre Ballet School. After a guest stint with The Australian Ballet during the 2007 season of Peter Wright’s The Nutcracker, Jarryd officially joined the company at the beginning of 2008; he was promoted to coryphée in 2011, to soloist in 2015 and to senior artist in 2017. A versatile artist, Jarryd has performed in every Bodytorque season since joining the company.

Repertoire highlights— Jack/Knave of Hearts, Mad

Hatter and Caterpillar in Christopher Wheeldon's Alice's Adventures in Wonderland© 2017

— Doctor/Beloved Officer in Graeme Murphy's Nutcracker – The Story of Clara 2017


— Franz in Peggy van Praagh's Coppélia 2016

— William Forsythe's In the Middle, Somewhat Elevated 2016


— Jirí Kylián’s Bella Figura 2013

— Wayne McGregor's Dyad 1929 2013, 2009

— Nacho Duato's Por vos muero 2009

— Nicolo Fonte’s Possibility Space 2008

Awards — Telstra People's Choice

Award 2016— Telstra Ballet Dancer

Award nominee 2012

You may not know ... Jarryd is an avid comic book collector, movie buff and music lover. He is a first-time parent to beautiful daughter Willow with fellow dancer Amy Harris.

BENEDICTE BEMET

Benedicte Bemet was born in Mackay 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. When she was ten her family relocated to Hong Kong, where she continued her ballet training at the Jean M. Wong School of Ballet. She was accepted into The Australian Ballet School at age 14. In her time at the school she received the Award for Excellence in Level 6; in 2009 she was sent to New York and Canada to represent the school in the student exchange program. Benedicte toured with The Dancers Company in 2010 and 2011. She joined The Australian Ballet in 2012; she was promoted to coryphée in 2013, to soloist in 2016 and to senior artist in 2018.

Repertoire highlights — Swanilda in Peggy van

Praagh's Coppélia 2016— William Forsythe's In the

Middle, Somewhat Elevated 2016

— Viktor Gvosky's Grand pas classique 2016

— Second Region Pas de deux in Christopher Wheeldon's DGV©: Danse à grande vitesse 2016

— Third Movement Principal in George Balanchine's Symphony in C 2016

— Aurora and Princess Florine in David McAllister's The Sleeping Beauty 2015

— Peasant Pas de deux in Maina Gielgud’s Giselle 2015

— Clara in Peter Wright’s The Nutcracker 2014

— Sérénade Variation in Serge Lifar’s Suite en blanc 2014

— Soloist in Paquita 2013

Guest appearances — Paquita and Swan Lake Act

III, The Dancers Company tour 2015


Award 2015— Khitercs Hirai Foundation

Scholarship 2014 — Green Room Award

nomination for Clara in The Nutcracker 2014

— Telstra People’s Choice Award 2013

You may not know ... Benedicte loves baking and cooking anything involving chocolate!

DANA STEPHENSEN

At the age of three Dana Stephensen began her training in ballet, jazz, tap and singing with Davidia Lind in her hometown of Brisbane. She later trained with Mary Heath and Sandra Ashley. In 2001 she obtained her Royal Academy of Dance Solo Seal from the Queensland Dance School of Excellence. Dana joined The Australian Ballet School in 2002. In her graduating year she was seconded to The Australian Ballet to perform in various seasons before joining the company full-time in 2005. She has since enjoyed interna-tional tours to Los Angeles, New York, UK, Auckland, Shanghai, Tokyo, and Paris. Her Khitercs Hirai Scholarship enabled her to gain invaluable experience training with numerous ballet companies in Europe. Dana was promoted to coryphée in 2010 and later that year won the Telstra Ballet Dancer Award. Dana was promoted to soloist in 2012 and to senior artist in 2018.

Repertoire highlights — Stepmother in Alexei

Ratmansky’s Cinderella 2018, 2013

— Tertulla in Lucas Jervies' Spartacus 2018


— Valencienne in Ronald Hynd's The Merry Widow 2018

— Princess Florine and the Fairy of Temperament in David McAllister's The Sleeping Beauty 2018, 2017

— Dawn in Peggy van Praagh's Coppélia 2016

— Giselle in Giselle (The Australian Ballet's Regional Tour 2016)

— Lescaut's Mistress in Sir Kenneth MacMillan’s Manon 2014

— Rose Fairy in Peter Wright’s The Nutcracker 2014

— Wayne McGregor’s Infra (2017), Chroma (2014) and Dyad 1929 (2013, 2009)

Guest appearances — Kitri in Don Quixote, The

Dancers Company tour 2010 Awards — Telstra Ballet Dancer

Award 2010— Khitercs Hirai Foundation

Scholarship 2008

You may not know ... Dana has a young son called Jasper who is the light of her life. She writes when she can on her blog The Balance Point(e) (thebalancepointe.com)

CRISTIANO MARTINO

Cristiano Martino began ballet in his hometown of Adelaide at The Barbara Jayne Dance Centre. He moved to Melbourne in 2009 to join The Australian Ballet School, where he trained for four years before graduating as dux. He joined The Australian Ballet in 2013; he was promoted to coryphée in 2015, to soloist in 2017 and to senior artist in 2018.

Repertoire highlights — Spartacus in Lucas Jervies'

Spartacus 2018— The Prince in Alexei

Ratmansky's Cinderella 2018

— Prince Désiré and the Bluebird in David McAllister's The Sleeping Beauty 2017


— The Golden Slave/Faun in John Neumeier's Nijinsky 2016

— Benno in Stephen Baynes' Swan Lake 2016


— Oberon in Frederick Ashton’s The Dream 2015

— Frederick Ashton’s Symphonic Variations 2015

— Jirí Kylián’s Petite Mort 2014


Award nominee 2014

You may not know ... Cristiano is still best friends with his first dancing partner, whom he’s known from the age of ten; she often comes to see him dance.

MARCUS MORELLI

Marcus Morelli was born in Melbourne and started dance classes at the age of ten. He studied at the Jane Moore Academy of Ballet and The Australian Ballet School, and toured with The Dancers Company in 2013. He joined The Australian Ballet in 2014; he was promoted to coryphée in 2015, and to soloist in 2017, after dancing the Bluebird in The Sleeping Beauty. He was promoted to senior artist after the 2018 season of Spartacus.

Repertoire highlights — Stanislav Nijinsky in John

Neumeier's Nijinsky 2016— Actéon in Diana and

Actéon Pas de deux 2016— The Bluebird in David

McAllister's The Sleeping Beauty 2015

— Puck in Frederick Ashton’s The Dream 2015


— Earl’s Equerry in Graeme Murphy’s Swan Lake 2015

— Trepak in Peter Wright’s The Nutcracker 2014

— Agni the Fire God and Fakir in Stanton Welch’s La Bayadère 2014

— Pas de cinq in Serge Lifar’s Suite en blanc 2014

Awards — Telstra People’s Choice

Award 2015

You may not know ... Marcus enjoys playing video games, watching TV, and skateboarding in his spare time.


Jill Ogai. Photography Daniel Boud

“Magnificent”

The Border Mail

“Graceful strength”

Dance Australia

VALERIE TERESHCHENKO

JADE WOOD

Jade Wood was born in Cairns, Queensland, and started dancing at the age of three at the Jillanne Reynolds School of Dance. After moving with her family to Portugal for a year when she was ten, she returned to Cairns and joined The Australian Ballet School’s Interstate Junior Programme, traveling to Melbourne a few times per year. In 2004, Jade relocated to Melbourne to attend The Australian Ballet School. She toured with The Dancers Company in 2009 and 2010 and joined The Australian Ballet in 2011. She has toured internationally with the company to New York, Los Angeles, Berkeley, Beijing, Shanghai and London. She was promoted to coryphée in 2015, to soloist in 2017 and to senior artist in 2018.

Repertoire highlights— Cinderella in Alexei


— Princess Florine and the Fairy of Musicality in David McAllister's The Sleeping Beauty 2018, 2017, 2015

— Alice in Christopher Wheeldon's Alice's Adventures in Wonderland© 2017

— Giselle in The Australian Ballet's Regional Tour of Giselle, 2017


— Firebird in Graeme Murphy's Firebird 2018


— 4th Movement Principal in George Balanchine's Symphony in C 2017

— Agrippina Vaganova's Diana and Actéon Pas de deux 2016

— ‘Bomb Squad’ Ballerina in Twyla Tharp's In the Upper Room 2015


Award and People's Choice Award 2018

— Telstra Ballet Dancer Award nominee 2016, 2014

You may not know ... Jade and her fiancé are proud owners of two long-haired miniature dachshunds named Bentley and Winter.

Valerie Tereshchenko was born in Kiev, Ukraine. She immigrated to Australia with her family when she was six years old and a year later took her first ballet class. Valerie's talent for movement was nurtured at a number of Melbourne-based dance schools, including West Point Ballet Academy, Ballet Theatre of Victoria, and the Australian Interna-tional School of Coaching. Valerie later joined The Australian Ballet School. In 2008 she participated in a school exchange in North America and that same year performed with The Dancers Company tour for the second time. In 2009 she joined The Australian Ballet; she was promoted to coryphée in 2015, to soloist in 2017 and to senior artist in 2018.

Repertoire highlights — The Lilac Fairy in David

McAllister’s The Sleeping Beauty 2017, 2015

— Wayne McGregor’s Infra 2017

— Lead Swan in Stephen Baynes' Swan Lake 2016



— Russian Dancer in Stephen Baynes' Swan Lake 2016, 2012

— Myrtha, Queen of the Wilis in Maina Gielgud’s Giselle 2015

— Guardian Swan in Graeme Murphy’s Swan Lake 2015

— Stepmother in Alexei Ratmansky’s Cinderella 2014 – 2016


Award 2017 — Telstra Ballet Dancer

Award nominee 2013



You may not know ... Valerie speaks fluent Russian.


NATASHA KUSEN CALLUM LINNANE

Philanthropy Ambassador

Born in Sydney, Natasha Kusen began dancing at the age of four. She trained with Nicholina Kuner’s Academy Ballet in Randwick. In 2001 Natasha won a scholarship at the Prix de Lausanne to study at The Royal Ballet School in London. While still a student, she toured with The Royal Ballet to Australia in 2002 and Russia in 2003. Upon graduation in 2003, Natasha came home to Australia to join The Australian Ballet. In 2006 she was the recipient of the George Garratt Scholarship, which enabled her to gain valuable experience visiting European ballet companies. Natasha was promoted to soloist in 2013.

Repertoire highlights — Frederick Ashton’s

Monotones II and The Dream 2015

— Jirí Kylián's Petite Mort, Sechs Tänze, Bella Figura and Stepping Stones 2014, 2013, 2005

— Third Shade variation and Ajah in Stanton Welch’s La Bayadère 2014

— Snow Fairy and Arabe in Peter Wright’s The Nutcracker 2014

— Lead Swan in Stephen Baynes’ Swan Lake 2012

— Suzuki in Stanton Welch’s Madame Butterfly 2011

— Prayer in Peggy van Praagh’s Coppélia 2010

— Nacho Duato’s Por vos muero 2009

— Calliope in George Balanchine’s Apollo 2009

— Christopher Wheeldon’s Continuum© 2004


Award nominee 2013, 2010— George Garrett Scholarship

2006

You may not know ... Natasha curates her own style blog, Studio to Street (studiotostreet.com.au), an additional creative outlet where she combines her two passions, dance and fashion, through creative writing and photography.

Callum Linnane grew up in Ballarat, Victoria, where he began tap-dancing classes at the age of seven. He started ballet classes when he was eleven. He trained with Lauren Young before being accepted into The Australian Ballet School in 2008. Callum toured with The Dancers Company in 2013 and 2014; he joined The Australian Ballet in 2015. He was promoted to coryphée in 2017 and to soloist in 2018.

Repertoire highlights — Jack/Knave of Hearts in

Christopher Wheeldon's Alice's Adventures in Wonderland© 2017

— Second Movement Principal in George Balanchine's Symphony in C 2017

— Vaslav Nijinsky in John Neumeier's Nijinsky 2016


— First Movement Principal in George Balanchine's Symphony in C 2016

— Stomper in Twyla Tharp's In the Upper Room 2015


Awards — Telstra Ballet Dancer Award

2016

You may not know ... Callum’s first dance hero was Michael Jackson. He would spend hours watching his videos and copying his moves.

S O L O I S T S

NICOLA CURRY INGRID GOWIMOGEN CHAPMAN BRODIE JAMES

Nicola Curry grew up inColorado Springs, USA. Atthe age of 14, she moved toToronto to train at Canada’sNational Ballet School, whereshe received the Erik Bruhn Memorial Award for Excellence in Ballet. At theage of 18, Nicola movedto New York City to joinAmerican Ballet Theatre,where she danced for tenyears. While at ABT, sheperformed featured rolessuch as Hermia in Frederick Ashton’s The Dream, a Big Swan in Kevin McKenzie’s Swan Lake, Her Stepsister in James Kudelka’s Cinderella, Lady Capulet in Sir Kenneth MacMillan’s Romeo and Juliet, and Tall Pas d’Action in Natalia Makarova’s La Bayadère, along with a variety of other featured roles in ballets by George Balanchine, Twyla Tharp, John Neumeier and Alexei Ratmansky. She has toured with American Ballet Theatre to Moscow, Muscat, Oman, Abu Dhabi, London, Paris, Tokyo, Beijing, Seoul, Taipei and numerous US cities. Nicola joined The Australian Ballet in 2015.

Repertoire highlights — Bronislava Nijinska in John

Neumeier's Nijinsky 2016— Lead Swan and Spanish

Dancer in Stephen Baynes' Swan Lake 2016


— The Lilac Fairy and Fairy of Grace in David McAllister's The Sleeping Beauty 2015

— ‘Stomper’ in Twyla Tharp's In the Upper Room 2015

Guest appearances — Myrtha, Queen of the Wilis

in Giselle, The Australian Ballet Regional Tour 2016


Award nominee 2016

You may not know ... Nicola is a qualified Pilates instructor. She can also be seen performing in the ballet class scenes in the 2010 Oscar Award-winning film Black Swan.

Ingrid Gow was born in Randwick, Sydney in 1987. She knew from the age of four that she wanted to grow up to be a ballerina. Her training began at Academy Ballet in Sydney and continued at the New Zealand School of Dance. In 2007 Ingrid successfully auditioned for Royal New Zealand Ballet, where she danced for three years. Ingrid joined The Australian Ballet in 2010; she was promoted to coryphée in 2013 and to soloist in 2018.

Repertoire highlights — Princess Royal in Graeme

Murphy’s Swan Lake 2015— Richard House’s Control

and Finding the Calm for Bodytorque 2014, 2013

— Frederick Ashton’s Symphonic Variations 2015

— Jiří Kylián's Petite Mort 2014

— Jiří Kylián's Bella Figura 2013

— Skinny Stepsister in Alexei Ratmansky's Cinderella 2016, 2015, 2013

— Garry Stewart's Monument 2013

— Lady Capulet in Graeme Murphy's Romeo & Juliet 2011

— Grand Matriarch in Ronald Hynd's The Merry Widow 2011


Award nominee 2014

You may not know ... Ingrid loves reading and adding to her high-heel collection.

Imogen was born in Perth, Western Australia. She began ballet at the age of three, and at the age of eleven moved to Melbourne to continue her training at The Australian Ballet School. In 2007 she moved to London to accept a place at The Royal Ballet School, graduating in 2010. During her time at The Royal Ballet School, she performed with The Royal Ballet in productions including La Bayadère, Giselle and Cinderella, toured to Japan with the School, and was chosen (in her second year of training) to tour with Carlos Acosta, performing Apollo in Valencia. After her graduation she joined the Scottish Ballet before joining The Australian Ballet in 2011. She was promoted to coryphée in 2016 and to soloist in 2018.

Repertoire highlights — Prayer in Peggy van

Praagh's Coppélia 2016— Guardian Swan in Graeme

Murphy’s Swan Lake 2016, 2015

— Lead Swan in Stephen Baynes' Swan Lake 2016


— Venus in Alexei Ratmansky's Cinderella 2016, 2015

— Fairy of Joy in David McAllister's The Sleeping Beauty 2015




People’s Choice Award 2014

You may not know ... Imogen is very fond of animals, the bush, live music and spending time at her family home in Perth's hills.

Brodie James was born in Perth and began his dance training with jazz and acrobatics at the Jody Marshall Dance Company in 2001. He trained at The Graduate College of Dance from 2005 under the direction of Dawn Weller. He was offered a scholarship to attend The Australian Ballet School in 2008; while there he spent time studying at Canada’s National Ballet School as an exchange student. He toured with The Dancers Company in 2011 and joined The Australian Ballet in 2012. In 2014 he participated in a dancer exchange, performing with the Royal Ballet of Flanders in Antwerp. He was promoted to coryphée in 2017, and to soloist in 2018.

Repertoire highlights — The Prince in Alexei



— The Caterpillar in Christopher Wheeldon's Alice's Adventures in Wonderland© 2017

— Viktor Gsovsky's Grand pas classique 2017, 2016

— 1st Movement Soloist in George Balanchine's Symphony in C 2017

— Albrecht in Giselle (Regional Tour) 2016

— 'White Couple' in Jiří Kylián's Forgotten Land 2016

— Frederick Ashton’s Monotones II 2015

— Garuda the Dream God in Stanton Welch’s La Bayadère 2014



Awards— Telstra Ballet Dancer

Award nominee 2018, 2016

You may not know ... Brodie is currently studying a bachelor of media and communications online.


CHRISTOPHER RODGERS-WILSON

Christopher Rodgers-Wilson was born in England but grew up in Melbourne, 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, where he won the Charles Wall scholarship and the Kenneth MacMillan Trust Scholarship, and toured to Germany and Dubai. Chris joined the Birmingham Royal Ballet in 2007. Career highlights included the pas de quatre in Peter Wright’s The Sleeping Beauty, the pas de six in Swan Lake, Rose Fairy Cavalier in Peter Wright’s The Nutcracker, First Seminarian in David Bintley’s Carmina Burana, the Mandolin Dance in Sir Kenneth MacMillan’s Romeo and Juliet, Grosse Fugue by Hans van Manen and In the Upper Room by Twyla Tharp. He toured with the BRB to Japan, China and the USA. He joined The Australian Ballet in 2011; he was promoted to coryphée in 2013 and soloist in 2016.

Repertoire highlights — Camille in Ronald Hynd's

The Merry Widow 2018— Jack/Knave in

Christopher Wheeldon's Alice's Adventures in Wonderland© 2017

— Franz in Peggy van Praagh's Coppélia 2016

— The Bluebird in David McAllister’s The Sleeping Beauty 2015


— Earl in Graeme Murphy’s Swan Lake 2015

— Frederick Ashton’s Symphonic Variations and The Dream 2015

— Wayne McGregor's Chroma 2014

— Jirí Kylián’s Petite Mort 2014

— The Adolescent in Graeme Murphy's Beyond Twelve 2012


Award 2013

Guest appearances — Swan Lake Act III and

Paquita, The Dancers Company tour 2014, 2013

You may not know ... In addition to dancing and his family and friends, Chris has a passion for all kinds of breakfast foods.

JILL OGAIRINA NEMOTO KAREN NANASCAJAKE MANGAKAHIA

Jill Ogai was born in Sydney in 1993, and grew up on Bondi Beach. At the age of four she and her twin brother, after watching a ballet video, surprised their parents by asking if they could start ballet classes. She began at The Ballet Class Rose Bay. When her family moved to Adelaide she continued training with Sheila Laing and Elayne Cherry before moving to Melbourne at age 14 to begin full-time studies at The Australian Ballet School. Jill toured with The Dancers Company in 2010 and 2011 and joined The Australian Ballet in 2012. She was promoted to soloist in 2018.

Repertoire highlights — Fairy of Temperament and

Princess Florine in David McAllister's The Sleeping Beauty 2017, 2015

— Tim Harbour's Squander and Glory 2017

— Diana and Actéon Pas de deux 2017, 2016

— The Duchess in Stephen Baynes' Swan Lake 2016


— Tim Harbour’s Filigree and Shadow 2015

— Twyla Tharp’s In the Upper Room 2015

— Dumpy Stepsister in Alexei Ratmansky’s Cinderella 2015, 2014

— Moth in Frederick Ashton’s The Dream 2015

— First Shade variation in Stanton Welch’s La Bayadère 2014

Guest appearances — Expressions Dance

Company Solo Festival of Dance, Tim Harbour’s Extro 2

Awards— Telstra Ballet Dancer

Award nominee 2016

You may not know ... Jill paints, draws and makes her own clothing.

Rina Nemoto was born in Tokyo, Japan, and began dancing at the age of three. At the age of 15, she travelled to Paris for two years of classical ballet training with Daini Kudo and Dominique Khalfouni. In 2009, Rina was awarded a Prix de Lausanne scholarship and joined The Royal Ballet as an apprentice dancer. She joined The Australian Ballet in 2011; she was promoted to coryphée in 2016 and to soloist in 2018.

Repertoire highlights — Alice in Christopher

Wheeldon's Alice's Adventures in Wonderland© 2017

— Fairy of Grace and Fairy of Generosity in David McAllister's The Sleeping Beauty 2017, 2015

— Pas de trois from Stephen Baynes' Imaginary Masque 2017

— Pas de deux from Stephen Baynes' Molto Vivace (Ballet Under the Stars 2017)

— La Sieste in Serge Lifar's Suite en blanc (Adelaide Gala Spectacular 2017)

— 2nd Movement Soloist in George Balanchine's Symphony in C 2017

— Dawn in Peggy van Praagh's Coppélia 2017

— Countess, Lead Swan and Russian Dancer in Stephen Baynes' Swan Lake 2016


Award nominee 2018, 2014

You may not know ... Rina is interested in pottery, and would like to explore it when she has more time.

Karen Nanasca was born in Auckland, New Zealand. Hailing from an athletic family, she followed in their footsteps by studying ballet from the age of seven. Her natural talent was immediately noticed and nurtured by her teachers at the Mt Eden Ballet Academy. She won the New Zealand National Ballet Award in 2004, followed by a placing in the semi-finals of the Prix de Lausanne in 2005. In 2006 she was the recipient of the Elizabeth McDonald Scholarship, allowing her to cross the Tasman and join The Australian Ballet School. Karen became a member of The Australian Ballet's corps de ballet in 2009 and was promoted to coryphée in 2012; she was promoted to soloist in 2018.

Repertoire highlights — Giselle in Giselle (The

Australian Ballet's Regional Tour) 2017, 2016

— Fairy of Temperament in David McAllister’s The Sleeping Beauty 2017, 2015

— Diana and Actéon Pas de deux 2017

— 3rd movement Soloist in George Balanchine's Symphony in C 2017


— Red Pas de deux in Jirí Kylián’s Forgotten Land 2016

— ‘Stomper’ in Twyla Tharp's In the Upper Room 2015

— Cygnet in Graeme Murphy’s Swan Lake 2012 - 2015

— Clara in Peter Wright’s The Nutcracker 2014

— Wayne McGregor’s Dyad 1929 2013, 2009


Award nominee 2011

You may not know ... In 2015 Karen participated in an exchange with the Royal Swedish Ballet and performed in Rudolf Nureyev's production of Don Quixote.

Jake was born on the Sunshine Coast, Queensland. As soon as his parents discovered that their baby was bopping his little head to any music he heard, they put him into dance classes. At the age of ten Jake successfully auditioned for The Australian Ballet School. At the age of 18 he joined The Australian Ballet. He was promoted to coryphée in 2017 and to soloist in 2018.

Repertoire highlights— Tim Harbour's Squander

and Glory 2017— Vaslav Nijinsky in John

Neumeier's Nijinsky 2016— Stephen Page's Waramuk -

in the dark night 2012— Graham Murphy's Beyond

Twelve 2012— Gary Stewart's Monument

2011

Awards — Telstra People's Choice

Award 2017, 2012

You may not know ... In 2014 Jake made the decision to take a two-year sabbatical and fulfil a life-long dream to serve as a Christian missionary for The Church of Jesus Christ of Latter Day-Saints. He served in the Toronto mission and returned to The Australian Ballet in 2016.

SHARNI SPENCER

Sharni Spencer was born in Lismore NSW 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 at the beginning of 2008 and was promoted to coryphée in 2012 and to soloist in 2017. She was the recipient of the Khitercs Hirai Foundation Scholarship in 2012, and used it to spend three months rehearsing and performing Giselle with Dutch National Ballet.

Repertoire highlights — Cinderella in Alexei



— The Fairy of Generosity in David McAllister’s The Sleeping Beauty 2017, 2015

— The Countess in Stephen Baynes' Swan Lake 2016

— 'White Couple' in Jirí Kylián's Forgotten Land 2016

— Fourth Movement Soloist in George Balanchine's Symphony in C 2016

— Lead Wili in Maina Gielgud’s Giselle 2015

— Cygnet in Graeme Murphy’s and Stephen Baynes’ Swan Lake 2012 - 2015

— Soloist in Paquita 2013— Stephen Baynes' Requiem

2011 Awards — Telstra Ballet Dancer Award

nominee 2017, 2013— Khitercs Hirai Foundation

Scholarship 2012

You may not know ... Sharni has swum with manta rays in Hawaii.


PROUDLY SUPPORTING AUSTRALIA’S INSPIRATIONAL ARTISTS AND CREATORS

Callum Linnane and Isobelle Dashwood. Photography Taylor-Ferné Morris


C O R Y P H É E S

JACQUELINE CLARK

COREY HERBERT

DREW HEDDITCH

LUKE MARCHANT

NATHAN BROOK

AMANDA McGUIGAN

FRANÇOIS-ELOI LAVIGNAC

ALICE TOPP

YUUMI YAMADA

AYA WATANABE

YICHUAN WANG

JESSICA WOOD

LUCIEN XU

SARA ANDRLON

SHAUN ANDREWS

MATTHEW BRADWELL

DANIEL BRYNE

TIMOTHY COLEMAN

JASMIN DURHAM

LISA CRAIG

KATHERINE SONNEKUS

SARANJA CROWE

ISOBELLE DASHWOOD

JACOB DE GROOT

EVIE FERRIS

ROHAN FURNELL

SERENA GRAHAM

EMMA KOPPELMAN

DANIEL IDASZAK

CAMERON HOLMES

SEAN KILEY

MASON LOVEGROVE**

ELLA HAVELKA*

KELSEY STOKES

SOPHIE MORGAN

COCO MATHIESON

ANNALIESE MACDONALD

ALEXANDRA MOORE

THOMAS MCCLINTOCK

MONTANA RUBIN

RICCARDO RODIGHIERO

TYSON POWELL

GEORGE-MURRAY NIGHTINGALE

EDWARD SMITH

JOSEPH ROMANCEWICZ

C O R P S D E B A L L E T

*Corps de Ballet position supported by The Susan and Sam Chisholm Fund **Corps de ballet position supported by The Ross Trust

Mason Lovegrove is the 2018 recipient of the Walter Bourke Award

PROUDLY SUPPORTING AUSTRALIA’S INSPIRATIONAL ARTISTS AND CREATORS


FIONA TONKIN STEVEN HEATHCOTE AM

MEGAN CONNELLY

A R T I S T I C S TA F F

PAUL KNOBLOCHELIZABETH TOOHEY

Artistic Associate & Principal Coach

Ballet Master & Regional Touring Associate

Ballet Mistress & Rehabilitation Specialist

Ballet Master Ballet Mistress & Repetiteur

Fiona Tonkin began her career at the Royal New Zealand Ballet in 1979. At the invitation of Marilyn Jones, Fiona joined The Australian Ballet in 1980. By 1987 she had become a principal artist, renowned for her interpre-tative artistry, classicism and technical versatility.

Career highlights include dancing Aurora at the Royal Opera House London, Juliet at the Kirov Theatre St Petersburg, Flavia and Giselle at the Metropolitan Opera House New York, and opening the company’s 1992 London season as Giselle. She appeared as a guest artist with the Kirov Ballet in Swan Lake and on the Rudolf Nureyev Farewell Tour, and danced the title roles in the ABC Television broadcasts of La Fille mal gardée and Romeo and Juliet. Fiona received Green Room Awards in 1988 and 1989.

During her 14 years with the company Fiona performed in over 70 ballets including all the major classics as well as ballets such as Onegin, Song of the Earth, Monotones, Suite en blanc, Serenade, Symphony in C, Ballet Imperial, Four Temperaments, The Concert, Return to the Strange Land, Forgotten Land and Pillar of Fire.

Fiona graduated with a Bachelor of Arts in 1998 while guest-teaching in New Zealand and Australia. In 1999 she completed The Australian Ballet School’s Teachers Course and was awarded the Australian Multicultural Foundation Scholarship.

In 2000 Artistic Director Matz Skoog appointed her Rehearsal Director of the Royal New Zealand Ballet. She continued to work with Skoog in London as assistant artistic director of the English National Ballet in 2002. Fiona returned to The Australian Ballet in 2003 at the invitation of David McAllister, and celebrated 25 years with the company in 2013.

Born in Western Australia, Steven Heathcote took up ballet lessons at the age of ten. He was accepted into The Australian Ballet School at the age of 16 and was offered a contract with The Australian Ballet in 1983.

Steven experienced a rapid rise to the rank of principal artist, a position he sustained for 20 years. He was invited to perform as guest artist with some of the world’s major ballet companies, including American Ballet Theatre, Birmingham Royal Ballet, the Royal Danish Ballet and the Mariinsky Ballet.

After retiring from the dance stage in 2007 as The Australian Ballet’s longest serving principal artist, Steven appeared in the 2009 feature film Mao’s Last Dancer and has been actively engaged in specialised coaching for dancers, public speaking, presenting and acting.

In 2010 Steven conceived and directed a new production of Handel’s Julius Caesar, for Victorian Opera. In 2012 he returned to opera as choreographer and assistant director to John Bell for the Victorian Opera’s new production of Stravinsky’s The Rake’s Progress.

In 2013, Steven performed the title role of Don Quixote in The Australian Ballet’s production of the ballet, and was assistant director to John Bell for Opera Australia's new production of Tosca.

Steven lives in Melbourne with his wife Kathy; they have two adult children.

In 2014, at the invitation of David McAllister, Steven returned to The Australian Ballet as a ballet master and regional touring associate.

Megan Connelly joined The Australian Ballet in 1991 under the direction of Maina Gielgud, and performed in many works including The Sleeping Beauty, Don Quixote, Giselle, Romeo and Juliet, The Merry Widow, La Fille mal gardée, The Taming of the Shrew and Symphony in C. She was appointed assistant to the ballet staff before taking up the position of principal teacher at the Christine Walsh Dance Centre. In 1999 she was appointed ballet mistress on the Year 2000 project for the Sansouci Music Festival, Berlin. She has performed with Victoria State Opera and Opera Australia; her choreographic works include Between Space for the 2000 Australian Dance Awards, and Voices, accompanied by Melbourne Bulgarian Women’s Choir. She has been a guest teacher at Sydney Dance Company, Queensland Ballet, Victorian College of the Arts, Ballet Philippines, Royal Flemish Opera Ballet School, Staatheatre St Gallen, Michael Clark Company and Cecchetti Society.

At the invitation of David McAllister, Megan returned to The Australian Ballet in 2001 as assistant to the artistic director, and soon after added the work of ballet coach to the role. During this time, Megan co-authored Bodywise for ABC books and qualified as an APMA Pilates Instructor.

In 2009 Megan was appointed ballet technique & rehabilitation specialist for The Australian Ballet and returned to the stage as the Mother in Alexei Ratmansky’s Scuola di ballo. In 2010 she joined the teaching staff of The Australian Ballet School, in addition to her work with the company, and in 2012 completed a Vocational Graduate Certificate in Elite Dance Instruction. In 2014 she was awarded a Churchill Fellowship.

Paul Knobloch was born in Canberra and began his dance training at the Canberra Dance Development Centre before graduating from The Australian Ballet School with honours in 1997.

Paul joined The Australian Ballet in 2002 and rose to the rank of soloist before embarking on an international career. In 2009 he took up the invitation to join Béjart Ballet Lausanne as a premiere danseur and has performed all over the world as a member of distinguished companies including English National Ballet, West Australian Ballet, Alonzo King LINES Ballet USA and Sydney Dance Company.

Paul has danced many principal and soloist roles in the works of celebrated choreographers and has performed on the most illustrious stages in the world including Palais Garnier, London Coliseum and Tokyo Bunka Kaikan.

He has built a strong identity as both a leading artist and choreographer and has a string of accolades to his name. Paul has caught the eye of many renowned choreographers and has had numerous roles created on him as a dancer; he has also forged his own choreographic voice, creating works for The Australian Ballet, Ballet Victoria and leading schools and institutions across Australia, Canada and the USA.

He has had professional teaching appointments at companies including Sydney Dance Company, Bangarra Dance Theatre, and Hong Kong Ballet.

Elizabeth Toohey was born in Newcastle and joined The Australian Ballet after graduating from The Australian Ballet School in 1979. She remained with the company until 1990. In 1985 she and David McAllister entered the 5th International Ballet Competition in Moscow. Following this, they were invited to perform Don Quixote with the Bolshoi Ballet in 1986 and the Kirov Ballet in 1988. They performed Walter Bourke’s Grand Tarantella in galas around the former Soviet Union, cementing an enduring partnership.

Elizabeth’s performance highlights include Kitri in Don Quixote, Lise in La Fille mal gardée, Swanilda in Coppélia, Olga in Onegin and Kate in The Taming of the Shrew; she also danced featured roles in contemporary works by choreographers such as Sir Kenneth MacMillan and Jir í Kylián, and created the role of Rose in Robert Ray’s The Sentimental Bloke. She has been a guest artist with Norwegian National Ballet and a resident guest principal with English National Ballet. Career highlights include dancing the Peasant Pas de deux in Maina Gielgud’s Giselle at New York’s Metropolitan Opera House and the Bluebird Pas de deux in Maina Gielgud’s The Sleeping Beauty at London’s Covent Garden before the Queen, both with David McAllister.

Following her retirement, Elizabeth completed an Arts Administration apprenticeship with English National Ballet; she is also an internationally certified Stott Pilates Instructor.

In 2008 she joined the Royal Swedish Ballet’s rehabilitation team; under the directorship of Johannes Öhman, she was ballet mistress and rehearsal director.

She has taught at several international summer schools and was a guest teacher with Estonian National Ballet in 2015. In 2016, she returned to The Australian Ballet as a guest teacher and in 2017 accepted David McAllister’s invitation to become a ballet mistress with the company.


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Artists of The Australian Ballet. Photography Daniel Boud


Cristiano Martino and Karen Nanasca with artists of The Australian Ballet. Photography Daniel Boud


Ako Kondo and Chengwu Gou. Photography Jeff Busby

P H I L A N T H R O P Y

A NOTE FROM EDWINA McCANN

Together with my fellow Foundation Board members, I am thrilled to be able to share Alexei Ratmansky’s beguiling Cinderella with you in this return Melbourne season.

Cinderella was first performed in 2013, and has already become a gem of The Australian Ballet’s repertoire, performed to great acclaim around the country as well as in London and Shanghai.

The original season of Cinderella was supported by the Dame Margaret Scott Fund for Choreographers. The Fund was established to support choreographers as they develop new works for the company; most recently, it supported Alice Topp as she made her work Aurum for our contemporary triple bill Verve in 2018. Funds such as this are excellent examples of the support from our Ballet family that helps create invaluable opportunities for our wonderful artists.

Cinderella is such a delightful way to begin our Year of Enchantment in Melbourne.

I look forward to seeing you in the theatre.

With best wishes,

Edwina McCann Chair Foundation Board

$1,000,000 PLUSMr Robert Albert AO RFD RD & Mrs Elizabeth AlbertThe late Betty Amsden AOThe Australian Ballet SocietyMr William Bowness AOJoan and Peter Clemenger TrustMr Jim Cousins AO & Mrs Libby CousinsMrs Barbara DuhigFriends of The Australian Ballet (NSW) LtdFrances GerardEstate of Anne GluyasEstate of Reginald Edward GregoryEstate of George William Gregson Estate of Lionel Frederick Hann and Harry John ColliganMrs Lynnette HarveyMs Linda HerdMr Ian Hicks AMLachlan & Sarah MurdochEstate of Arthur & Roma NorcottMrs Roslyn Packer ACDr Valmai Pidgeon AMThe Ian Potter FoundationLady Potter AC CMRIJames & Diana Ramsay FoundationMr Kenneth R Reed AMThe Ross TrustSandra Taylor-BowmanGraeme Uthmeyer & Lisa BolteZambelli Family

$500,000 PLUSMrs Mary BarlowMrs Jennifer Brukner & The late Mr John BruknerMs Robin CampbellMrs Susan Chisholm & the late Sam Hewlings Chisholm AOEstate of Keith M ChristensenColonial Foundation LimitedEthel Margaret Ewing Cutten FoundationFriends of The Australian Ballet (SA) IncThe Glendonbrook FoundationIn memory of Mrs J J HoldenMrs Susan MorganMrs Helen O'NeilBruce Parncutt AOThe late Lady (June) PorterEstate of Peter & Barbara ShearerPeter & Christine SmedleyMr Dick Smith AC & Mrs Pip Smith AOLady Southey AC & the late Sir Robert Southey AO CMGTalbot Family FoundationRay Wilson OAM

$300,000 PLUSEstate of Christine Ann BrownMr John A Calvert-Jones AM & Mrs Janet Calvert-Jones AOMr Colin Carter AM & Mrs Angie CarterMs Laurie CowledEstate of Melba CromackCraig Dunn & Bozena GawartEstate of Susan FitzpatrickMr & Mrs Henry GreenfieldMs Val HardingMr John C. Higgins AO & Ms Jodie MaunderIan & Jeannie JohnsonDavid McAllister AMMr Peter Reilly & Mr Linton SoderholmRenaissance ToursThyne Reid FoundationMrs Marjorie White

Italics denotes this commitment includes a bequest to The Australian Ballet

We also wish to acknowledge and thank those individuals who have chosen to remain anonymous

LIFETIME COMMITMENTS

We celebrate the individuals and foundations whose generosity has had a significant and transformative impact on the history of The Australian Ballet.

FOUNDATION BOARD

Edwina McCann Chair

Bill Bowness AO VIC State ChairJane Freudenstein NSW State Chair

Arun AbeyMary BarlowHayley BaillieDi BertalliNatasha BownessPrue BrownRobin CampbellColin Carter AMGeorgina CurranCara Elsley

Suellen EnestromFrances InghamSarah Ingham Gail MarshallJodie MaunderRobert McCormack AM Karen MorrisonMaria PannozzoLynne Wright


MAJOR GIFTThe Ian Potter Foundation

ACCESS & OUTREACHMargaret May AttwoodCrown Resorts FoundationSir Andrew & Lady Fairley FoundationWilliam Arthur Hugh Gordon Fund - Perpetual TrusteesGraf Family FoundationRene Macrae Fund for Education and Regional ActivityPacker Family FoundationThe Colin Peasley OAM Fund for EducationThyne Reid Foundation

ADMINISTRATIONThe Richard & Barbara Allert FundThe Melba Alma Cromack FundThe Kathleen Gorham Fund established in her memoryThe Neil Hopkins FundThe Ian McRae AO FundThe Nöel Pelly AM FundThe Marigold Southey Fund

BALLET PRODUCTIONSThe Maina Gielgud FundWilliam Arthur Hugh Gordon Fund - Perpetual TrusteesThe Arthur & Roma Norcott Fund for Classical BalletThe Frank & Thora Pearce FundThe Margaret Ellen Pidgeon Fund for Classical Ballet endowed by Dr Valmai Pidgeon

The James & Diana Ramsay FundThe Kenneth R Reed FundKevin Regan Fund endowed by Max JohnstonDame Margaret Scott Fund for Choreog-raphers endowed byMrs Mary Barlow

Mrs Jennifer Brukner

Lauraine Diggins & Michael Blanche

Mr John C. Higgins & Ms Jodie Maunder

Neil & June Jens

Avner Klein & Maria Pannozzo

Mr Allan Myers AC QC & Mrs Maria J Myers AC

Robert Southey Fund for Australian Choreography, endowed by The Sidney Myer FundDame Peggy van Praagh Fund for Choreography

CONTRIBUTIONS TO THE GENERAL FUNDBowness Family Foundation Pty LtdMs Robin Campbell & Mr Bruce Parncutt AODavid Crawford AO & Maureen CrawfordHenry & Miriam GreenfieldMr Christopher Knoblanche AM & Mrs Anne KnoblancheMrs Susan Maple-Brown AMMrs Beth Millar and the late Fred Millar AO CBEMr Brian Nebenzahl OAM RFD and Mrs Jocelyn NebenzahlPerini Family FoundationLady (June) Porter FundQueensland Friends of The Australian Ballet

The Robert Salzer FoundationMr Dick Smith AC & Mrs Pip Smith AOPeter & Frieda ThornhillMr Richard Warburton AO & Mrs Susan Warburton

DANCERS' ENDOWED POSITIONSThe Susan and Sam Chisholm FundThe Barbara Duhig FundThe Lynnette Harvey FundThe Dorothy Hicks FundThe Lachlan & Sarah Murdoch Fund

DANCERS' RETRAININGBowness Family Foundation Pty LtdDave Poddar & Angela FlanneryLisa Ring

MUSICThe Robert and Elizabeth Albert Music FundsRobert and Elizabeth Albert Fellowships (conductor and pianist)John Lanchbery FundThe Will Noble, Joyce Sproat & Janet Cooke Music Fund

INTERNATIONAL GUEST ARTISTJoan and Peter Clemenger Trust

SCHOLARSHIPSBetty Amsden AO Fund The Lissa Black Award for Classical BalletThe Walter Bourke Prize endowed by his friendsThe Paula Jacqueline Swain Bursary

The George Garratt FundThe Freda Irving Memorial Scholarship FundThe Christine Marie Johnson Maple-Brown ScholarshipBarry Kay Memorial Scholarship FundKhitercs Hirai FoundationThe Susan Morgan FundThe James Slater Memorial FundThe Dick & Pip Smith ScholarshipsThe Maurice Sullivan Memorial Scholarship FundThe Antony Williams and Joseph Hand Australian Ballet Scholarship

We are also grateful to those individuals who have made donations of $20,000 or less to these funds

THE AUSTRALIAN BALLET FOUNDATION

The acts of generosity that sustain The Australian Ballet Foundation will support the company’s aspirations for generations to come. Major gifts from individuals and organisations underpin all of the company’s activities, from our outreach and access projects to developing a new generation of choreographers and supporting our dancers as they enter the next stage of their careers. Specific-purpose major gifts, grants and endowments have built, and will continue to build, an incredible platform from which the company will present the best the art form has to offer.

FUNDS WITHIN THE AUSTRALIAN BALLET FOUNDATION

INTERNATIONAL TOURING FUND

International touring was an original objective of The Australian Ballet, and the company continues to be a proud cultural ambassador for Australia on the world stage. The International Touring Fund was established by Frances Gerard after experiencing opening night of Graeme Murphy’s Swan Lake at the London Coliseum in 2005. It has considerably strengthened our touring program, enabling our dancers to perform regularly on the world stage. This important financial base gives The Australian Ballet the resources to take the best of the country’s artists to theatres across the globe.

Derek & Ann BrahamMarilyn BurtonMs Laurie CowledFrances GerardLionel Frederick Hann & Harry John Colligan FundIn memory of Mrs J J HoldenDale & Ian JohnsonLachlan & Sarah Murdoch

Mrs R H O'ConnorMrs Roslyn Packer ACDr Valmai Pidgeon AMMr Kenneth R Reed AMRenaissance ToursRoss Stretton Fund endowed by Bee FletcherTalbot Family FoundationMrs Mary Ann Wright

REGIONAL TOURING FUND

Touring across Australia has been a fundamental component of The Australian Ballet’s annual activities since 1962. The creation of the Regional Touring Fund demonstrates our commitment to making Australia’s national ballet company accessible to all, inspiring, delighting and challenging audiences.

“The Australian Ballet is one of the principal pillars of cultural activity in Australia. I believe it is important, indeed essential, that rural and country audiences away from the big cities are provided with the opportunity to see the company’s repertoire – to experience the contribution that the ballet is making to our cultural life.” Lord Glendonbrook Founding supporter of the Regional Touring Fund

Tania AustinMr John A Calvert-Jones AM & Mrs Janet Calvert-Jones AOThe Glendonbrook Foundation

Estate of Ainsley Gotto Rene Macrae Fund for Education and Regional Activity



ANNUAL GIVING

SENIOR ARTIST PATRONSGifts $15,000-$19,999R W BrownMr John R FullertonHayden Attractions Pty LtdShane LloydMrs Susan Maple-Brown AMSybella MorrisMr Robert Peck AM & Ms Yvonne Von Hartel AM peckvonhartel architectsMr Kenneth R Reed AMSandy Michell Legacy

SOLOIST PATRONS Gifts $10,000-$14,999Brian Abel in memory of the late Ben Gannon AOMrs Ruth Armytage AMMarilyn Burton Mr John A Calvert-Jones AM & Mrs Janet Calvert-Jones AOLeith & Susan Campbell Mrs Barbara DuhigCara ElsleyDr Robert Gillett & Mrs Susan GillettMr Andrew Guild & Ms Ai-Gul GaisinaMrs Jill M HinrichsenMr Aron Kleinlehrer OAMMr & Mrs Anthony Maple-BrownDiana McLaurinBruce Parncutt AOMrs Patricia H PitmanJill ThorpeDr Michael & Mrs Lynne WrightEmma ZuberAnonymous (4)

CORYPHEE PATRONSGifts $5,000-$9,999Mr Arun Abey & Ms Bernadette BolgerMr Ross Adler AC & Mrs Fiona AdlerAntoinette AlbertMargaret BlandMaxine BownessMrs Roslynne Bracher AMCaroline & Stephen BrainMs Jannie BrownKim Burnett Mr Michel-Henri Carriol & Mrs Julie Carriol OAMMrs Roxane Clayton

Dr Anne Colman & Prof Peter Colman ACGena CulleyMrs David DarlingMr John Downer AM & Mrs Rose DownerMr Greg EganMr Adam C Elder & Ms Joanne HartMr & Mrs Ronald EnestromFamily FaithfullMr Peter FrostMr & Mrs Chris FullertonGeoff & LorrainneMr Louis J Hamon OAMMrs Catherine Harris AO PSMBeverley Harvey & the late Richard HarveyMrs Jean M HealeyHenderson EndowmentMrs Pat HowellPeter James & Libby ChristieNicola KaldorMr & Mrs Ervin KatzDr Judith KinnearMrs Sylvia LavelleMrs Judy LeeMartin Family in memory of Lloyd Martin AMPamela M MarxMr & Mrs John M McArthurIn memory of Nola McCullaghKaren & John MorrisonMr Ronald B RainesRella ConsultantsRenaissance ToursProfessor Ruth Rentschler OAMLyne SedgmanMatt Shelmerdine*^The Sheridan FamilyGary Singer & Geoffrey SmithIn memory of Mrs Joan SwanSusan ThacoreMrs Susan ThomasMr & Mrs Leigh VirtueMrs Susan WarburtonPhilippa WarnerMrs Sally White OAMMr Ray Wilson OAM & the late James Agapitos OAMDonna WoodhillMs A Dickschen & Mr W. Brind Zichy-Woinarski QCAnonymous (6)

LES ETOILES Supporting the Principal Artists Gifts of $25,000

NSW/QLDHayley BaillieMrs Barbara BedwellMrs Susan Chisholm Mrs Bar CohenMrs Shanny Crouch Mrs Gordon Douglass AMMrs Jane FreudensteinBozena GawartMrs Lynnette HarveyRoland HowlettFrances InghamSarah Ingham Mrs Loraine McLarenMrs Helen O'NeilMrs Roslyn Packer ACDr Valmai Pidgeon AMMrs Nancy Reardon-FonsecaMrs Kelly Wyborn

VICMrs Mary BarlowMrs Di BertalliLisa BolteMs Natasha BownessMs Robin CampbellAngie CarterMrs Maureen CrawfordMrs Annette DavisAlane FinemanPrue Gillies AMMs Val HardingMs Linda HerdRosie LewMs Jodie MaunderLady Potter AC CMRILinton Soderholm

PRINCIPAL PATRONSGifts over $20,000Mr Robert Albert AO RFD RD & Mrs Elizabeth AlbertMrs Roseanne AmarantMrs Ingrid KaiserMr Ronald G KaiserThe Stuart Leslie FoundationJudy & Steven LowyMr & Mrs Geoff O'ConorMrs Sue PeriniMrs Margaret S Ross AMMrs Anne SymonsChristopher & Carol TiplerMrs Mary Ann WrightE XipellAnonymous

At the heart of philanthropy at The Australian Ballet are our Annual Giving supporters, whose inspiring generosity makes possible everything you see on stage. Ballet lovers across Australia support the artistic director’s vision to present an ever-changing and evolving program of seasons showcasing the breadth and depth of the company's talents. All gifts to our Annual Giving program, large or small, are magnified well beyond their monetary value, as they support our artists each time they step onto the stage.

Philanthropy Ambassador Natasha Kusen Photography Jordan Graham

NATASHA BOWNESS President Annual Giving

Correct as at 11.01.2019


ANNUAL GIVING

CORPS DE BALLET PATRONSGifts $3,000-$4,999Miss Catherine AlstonPhil & Laurel BendreyMs Kirsty BennettMr Charles G ClarkCharles & Patricia GalluccioThe Greatorex Foundation Pty LtdAlan & Marion GrundyLouise HamshereMs Sue Harlow & Mr Mervyn KeehnDianne HodgeDoug HooleySusan Jennison OAMDale & Ian JohnsonTherese A KennedyMs Barbara KingsellMr Hugh MacLachlan & Mrs Fiona MacLachlan OAMMrs Barbara MaidmentKen & Christina MarksJudy MatearMr Robert W McCormack AMDr M L Murnane AMMr Barry P MurphyA.M. NashTom & Lurline PayneGeoff & Jan PhillipsMrs Elisabeth PiddMrs Josephine R StruttThe late Mrs Susan Wakil AOSuzanne Waterhouse Barbara Watson & the late Danny WatsonRuth ZionzeeAnonymous (2)

Gifts $1,000-$2,999Nina Aberdeen*^Gemma Felicity Acton^Mrs Alexandra AdamsMrs Lenore AdamsonEllie* & Charlie Aitken^The Aitken FamilyÂldridge Family EndowmentJulie & Benjamin AllenJane AllenJanet AllenFor Ian & Ila AndersonJuliet Anderson* & Denham Schiff^Shauna Anderson^Dr MP Anthony^Jeremy ArnottJosie Ashton*^Maximilian Bak^*Dr Lorraine BakerMia & Jasmine BarbourScott & Alina Barlow*^David Barlow^Penny Barlow*^

Vanessa Barlow^Miss Margaret BarnesMr John W H Barr AM & Mrs Rosemary BarrPamela BarrPhillip Benedetti^Sharon Bennie^Leah Bischoff*^Ms Christine BishopMiss Catherine BoagBodycentric AdelaideLisa Bolte*Ôlivia Bond^Patricia BoyleMrs Alix BradfieldSanchia Brahimi^Ms Elizabeth BrayJacqueline BrooksDr William Brooks & Mr Alasdair BeckPrue Brown^Louise Bryant*^Mrs Geraldine BullBarbara BursillMrs Nancy ButlerTrish ByrneMrs Nancye E CainMs Clea CaisleyElizabeth & John CaldicottPam CaldwellJune CameronJanet CampbellDr Verne CaradusMrs Frances CattellEmily Chambers^Dr David & Mrs Caroline ChampionDr Joanna CheungDiana Choquette & Robert MillinerLisa Clark Dance CentreChristine CloughAndrew ConnollyAnnette CookDr Margaret CookG CossMr Tim K Cox AO & Mrs Bryony CoxAngela CrammondMs Kay CranwellAlexandra de Crespigny^Flora Zeta Cheong-Leen^Lucy Clemenger*^Sarah ColquhounÂmanda Coombs^Veronica Corrigan^Paula CroninMrs Prue Crookes^Paul & Samanth Cross^Ms Elinor CrossingSophie Crowe^Lyndall CummineMrs Gweneth CundyBernard & Georgie Curran*^Mr Charles P Curran AC

Dr Carolyn CurrieMrs Katherine S DammMs Anthoula DanilatosMiss Ann DarbyJenny Darling & Emma DarlingMrs Mary Davidson & Mr Frederick Davidson AMMr Ernest Dawes OBE & Mrs Nola DawesMrs Felicity DemediukSandra & Stephanie DenmanKay DowlingLorraine DrogemullerPatricia DuffyMrs Edrina Dunstan Kristin Edmonds*^Lyn Edwards & Robert BryceEeskay Investments Pty LtdIn memory of Joyce CordonyJudy Eyre & Tony De DomenicoMr & Mrs Barry FaggH Elizabeth Fairfax^Caroline FazakasIsaac & Judi FeldmanAnna Findlay*^Mrs Holly FletcherAlethea Flynn^Dr Joanna FlynnMrs Chantal de Fraga^Yvonne FrindleMrs Kylie GankoMichelle Gardiner^Diana GerstmanPrue Gilbert^Vanessa Gilbert* & Marshall Hunwick^Mr Neil R Gill & Mr Lee ChristofisMrs Joan GillespieElizabeth GippsKimberley Gire^Joakim Apostolas & Kirra Givanni^Jennifer & Sarah GoddardRyan Gollan^Mr Charles Goode AC & Mrs Cornelia GoodeJulie & Bill GooldAlexandra Gordon^Dr Kirsten Gormly & Mr Kristian DowningMrs Christine Gorrie Lianne GrafMrs Susan V GrantMrs Beatrice GrayKate Elizabeth Griffiths^Ms Lyn GriggJennifer Grimwade & Ian CashionMrs Felicity Gunner OAM & Mr Perry GunnerMrs Jenny GustMr Hugh HallardRuth Hallett

Wendy & Andrew HamlinCharles Hardman + 100th GalleryMr L HarrisonAndrew Hartwell^Mr Haskins OAM & Mrs HaskinsJill HawkerNick Hays Mrs Sarah F HaywardKaren Healey^Linden D Hearn OAMAndrew HendersonHannah HesseÊlisa Hindhaugh^Dr & Mrs Darryl HodgkinsonMr Peter HolbeachLisa & Daryl HolmesKatrina & Simon Holmes à Court^Mr Robert A HookMrs Robyn HopkinsCarrie HowardJenny HowlandDr Judith HumberstoneGillian HundGeorgina Hunt^Frances Ingham^Sarah Ingham*^Mrs Marilyn JackaDr Alastair Jackson AMMrs D JacksonFiona JamiesonÎn memory of Jayantha JayasuriyaShareen Joel^Cmr Leigh Johns OAMMs Michelle JohnsonJinah Johnston^Kerry-Anne JohnstonMax JohnstonMaggie Joye^Nicky Joye^Prof. Peter Juliff AMMs Irene KearseyRoslyn KeayMike Kendall^Rhonda & Emily KeeneMarion J KellyPatricia & Alun KenwoodMr Paul KeoghMrs Diane KierceMem Kirby^Mrs Karen Margaret KightleyKathryn KingsMrs Valda KlaricPatricia Kline & the late George KlineSamantha Lambert^Marissa Knies Lanier^Vivien & Graham KnowlesMrs Dinah KrongoldMr Tom KudelkaMrs Nicholina Kuner

Beatrice LangR LatteyMrs Sylvia Laumets-TsirosMrs Elizabeth LavertyProf Bruce R Lawford & Dr Susan ShadforthDr Joan M Lawrence AMMary Jane M. LawrieDelysia LawsonAnne LazbergerDino LeoneLessep Investment Management^Regina Levine*^Mr Ross LiebmannMelanie Listorti^Brooke Lockett^*Elizabeth H LoftusMr Richard LongesAndrew Low^Debbie MaharMichael & Monika Malone^Lyn MaloneyLouise & Robert ManifoldLaura Manning^Helen Mantzis^Carolyn MarlowJohn & Margaret MasonSusanna MasonMr Graham H MathesonSam McCardelRuth McColl AOCarole McCormickIrina McCreadiePip McCullyKay & Wayne McDonaldMrs Jane McGregorMalcolm & Sandy McLachlanMr Garry McLeanMrs Ann McNamaraGina McNamara*^Catherine McOmishDr Pam McQueen & Mr Andrew McQueenIan McRae AO & Ms Asa RoweMr Roger MenzIan MerryleesMs Meredith MillerPrue Miller^Patricia MillerDr David Millons AMDavid MinnsDesmond B Misso EsqAlice Moore^Maryanne MooreSusan MorganEmma Morrison^Marie MortonMr Michael MountLachlan & Sarah Murdoch*^John Jerome MyersÎrena Nebenzahl

Simon & Meredith NettletonBeverly Ng^Mr & Mrs Anthony NicholasPeter & Carolyn NorrieLyn & Gus NossalMrs Kathleen NowikSusie Nugan*^Mrs Rachel O'ConorMr Richard O'DwyerJanette O'KeefeMrs Janette O'KeefeCatherine L OsborneMrs Mary ParryJoshua Penn^Mrs Yvonne R PennyJodi Pettersen*^Margie PhillippsDr Richard K S PhoonNorman & Carolyn PinderPaul M PinelPinpoint Pty LtdMr Dave Poddar & Ms Angela FlanneryDiana PolkinghorneMrs Katherine Pontifix^Kerryn PratchettBeverley & John PurdeyCarli Ratcliff^Ms Lynn C Rainbow Reid AMMary RaynerPaul ReinMiss Jennifer RhodesMrs Susan RiggDr Peter Rigg-Smith Judy RoachMichael Robertson^Dr Stephen Rodgers-Wilson & the late Dr Diane PalmerJudith RogersMs Sandra RolloJohn & Helga RoseCecilia Rosenberg^Nadine Rosham^Ms Sandra RowlandsMr Mark SampsonVanessa Sanchez-Levy^Kaylene Savas^Judge Stephen Scarlett OAM RFDEvelien Scherp^Mr & Mrs Douglas G ScottPenelope Scott^Lorraine SeabrookMrs Christine SearcyMarilyn SeidelMrs Margaret SekelMs Lisa ShadgettDr Robyn SharpJane Shaw^Lynne Sherwood & the late Tim SherwoodMrs Dorothy Short.



Artists of The Australian Ballet. Photography Kate Longley

Initiated in 2014 by The Australian Ballet’s Global Ambassador Sarah Murdoch, our Ballet Ambassador program connects an international network of individuals, leaders of a new generation of ballet lovers advocating for the company around the world. Through intimate ‘behind the curtain’ access, our ballet ambassadors become deeply committed to the development of the art form and promotion of the company to new audiences.

ANNUAL GIVING

Charlie & Sandy ShuetrimDr John SimeMr Nev SimpsonMrs Rosemary SimpsonMs Sara J SimpsonMrs Joecelyn SmithProf Nerida A SmithPip SmithSmith Finance Group Ptd LtdÊzekiel Solomon AMCamilla Speer^Mrs Heather M Spencer Nicola StanfordIn memory of Susan Steele-taylorDr Kristen Steele^Jessica Steiger-ThorpeÂlisa St John*^Valentina Stojanovska*^Dominique Stokes^Swann Family FoundationMs Suzanne Swensson & Mr Paul JonesMr James SymeRobyn TamkeJodie Tapscott^Mildred TeitlerDr Christine ThevathasanMr Douglas ThirkellMrs Annalise ThomasPeter & Lesley ThomasParis Thomson^Mr Allan ThornePenelope ThringSue ThrowerMs Lisa Xia He Ting^Miss Ruth TraitMeg Tudehope^Daphne & Ross TurnbullJanet Cliff & Jenny Turnbull

Rosslyn J TurnerMs Patricia TylerMrs Jean UptonCatherine & Patrik ValsingerVinta Investment Management Pty LtdStan & Judy WallisMaggie Wang^Mrs Carolyn WardMrs Margaret WardThe Shirley Ward FoundationMr Ralph Ward-Ambler AM & Mrs Barbara Ward-AmblerMrs Hazel WatsonDr Peter Wearne & Ms Polly ShawPat & John WebbMr Tim WeisheitLaura Weston^Miss Pamela WhalanMrs Anne WhartonAnne WhiteChloe White^Mrs Marjorie WhiteJudith WilliamsAnnabel WilliamsonDr Edward WillsAlice WilmotMs Josie Woodgate OAMAndrew Wright^Helen WrightMelinda Wright^Kelly Wyborn^Wyke FamilyDavid Wynne^Ms Yang Yang^Yvonne YendellEvelyn Yong*Îrene Zaparas^Mark & Krista ZieleznaAnonymous (40)

DEVOTEESGifts $250-$999(456)

SUPPORTERSGifts $25-$249(909)

SUPPORT FROM TRUSTS AND FOUNDATIONSAustralian Decorative & Fine Arts Society Sydney Inc.The Calvert-Jones FoundationColonial Foundation LimitedThe Copland FoundationThe Cory Charitable FoundationCrown Resorts FoundationEthel Margaret Ewing Cutten Foundation - Equity TrusteesThe Duncan Leary Charitable TrustGandel PhilanthropyThe Glendonbrook FoundationGraf Family FoundationJoan and Peter Clemenger TrustDr Lee MacCormick Edwards Charitable FoundationThe Marian & E. H. Flack TrustMcCusker Charitable FoundationPacker Family FoundationPierce Armstrong Trust

The Ian Potter FoundationThe Profield FoundationJames & Diana Ramsay FoundationThe Ross TrustThe Sentinel FoundationDick and Pip Smith FoundationThyne Reid Foundation

SUPPORT FROM FRIENDS AND SOCIETIESThe Australian Ballet Society IncInterim President Judith RhodesFriends of the Australian Ballet (NSW) LtdChairman Greg KhouryFriends of the Australian Ballet (SA) IncPresident Lorraine Irving

Major Partner

"The Australian Ballet is truly central to my passion for ballet and I am committed to representing the company as Global Ambassador. I want every Australian, whether in Australia or around the world, to look up to our company and be proud. Our dancers and our productions are a true representation of who we are."Sarah MurdochGlobal Ambassador

* Ballet Ambassador Board^ Ballet Ambassador



Eloise Fryer, Amber Scott and Ingrid Gow. Photography Kate Longley


LEADERSHIP GIFTSThe Ian Potter FoundationThe Zambelli StudioEndowed by the Zambelli Family

The Susan Morgan Pointe Shoe RoomEndowed by Susan Morgan

Ian & Primrose Potter Physiotherapy SuiteEndowed by Lady Potter AC CMRI

James & Diana Ramsay Pilates SuiteJames & Diana Ramsay Suite for Artists of The Australian BalletEndowed by James & Diana Ramsay Foundation

William & Joanne Crothers Medical Consulting SuiteEndowed by the Upotipotpon Foundation

Lisa Bolte Dancers' Lounge Endowed by Graeme Uthmeyer

PLATINUM GIFTSCraig Dunn & Bozena Gawart

GOLD PATRONSRuth Armytage AMBowness Family FoundationColin & Angie CarterFamily FaithfullMrs Lynnette HarveyDiana McLaurinChristine & Peter SmedleyMr Dick Smith AC & Mrs Pip Smith AOPeter & Anne WhiteMrs Sally White OAM

SILVER PATRONSBrian AbelBarbara BedwellLibby Christie & Peter JamesSuellen & Ron EnestromMs Linda HerdJoan LyonsDavid McAllister AMMr Robert W McCormack AMMcLaren FamilyTony Osmond & Fiona GriffithsMrs Sue PeriniMr Peter Reilly & Mr Linton SoderholmMrs Mary Ann WrightAnonymous (2)

BRONZE PATRONSHugh HallardMrs Catherine Harris AO PSM

SUPPORTERSDr Lorraine BakerPhil & Laurel BendreyMarilyn BurtonMr Jim Cousins AO & Mrs Libby CousinsMr Ronald G KaiserGraham MathesonDave Poddar & Angela FlanneryE XipellAnonymous

DANCE WITH US – THE PRIMROSE POTTER AUSTRALIAN BALLET CENTRE REDEVELOPMENT

The renovation of The Primrose Potter Australian Ballet Centre will have both an immediate and a far-reaching impact on our dancers’ health and wellbeing; the development of new ballets; and ultimately, our performances.

The contributions of our Ballet family have been the keystone of this once-in-a-generation project, and we gratefully acknowledge those individuals and organisations whose generosity will be celebrated in the new spaces of The Primrose Potter Australian Ballet Centre.

Jade Wood. Photography Kate Longley




Miss Patricia DownesGeorge DrewMrs Lorraine DrogemullerMrs Jill DuckEdrina Dunstan & The Late David DunstanBetty EastgateCarol & Ted EdwardsJo EdwardsLyn EdwardsThe Late Mrs Joan Daphne EvansRichard EvansTerry FahyRoss FairhurstMrs Jacqueline FarrarThe Late Jim FinchPeter F FlemingBarrie I Follows AM JP & Margaret Gail FollowsMrs Geraldine Fox-PenglisJennifer FultonFrances GerardAnthea GilbertSuzanne GleesonMs Margo GrahamDerek & JoanLyn GriggMr Leonard GroatColin GuntherLouis J. Hamon OAMLouise HamshereMrs Lilian HardySue Harlow & Merv KeehnVivien & Christopher HartMiss Carol HayJennifer R HayRobert B HaynesHilary A HazledineMrs Jean HealeyChristopher Hector & Ros NeaveLinden D Hearn OAMMs Linda Herd Kathy HirschfeldMs Dianne HodgeMs Claire HoustonDr & Mrs Ken HoyleDr Irene IrvineLilla ItoMichael & Jennifer JamesCmr L. A. T. Johns OAMDale & Ian JohnsonMax JohnstonMr Paul Jones Ms Suzanne SwenssonMr Ronald G KaiserMarlene KavanaghDawn V KellyMarion J KellyDr Judith KinnearMrs Valda KlaricLisa KokegeiSimon Lambourne

Francine LancasterMavis LanceMrs Carlean LangbeinRichard LaslettMrs Judy LeeLilian LeightonDaniel-Francois LemesleDr C S LoaderThe Late Mrs Patricia LoughheadPamela & David LuhrsChris MackayGeoff & Margaret MarkhamLeonor Marrone in memory of RominaPatsy MartinThe Late Mr Edward J MasonGraham MathesonDavid McAllister AMMr Robert W McCormack AMSandra McCullaghAnn McFarlingD J McGregorDel & Andrew McGuinessMr Michael McKenzie & Mr Neil JonesJudithe & John McKindleyHeather McNicolDr Toni MeathRoger MenzPrudence MenziesDesmond B Misso EsqCarolyn & Ian MitchellKen MitchellSusan MorganMary MurphyTJ NakasuwanSimon & Meredith NettletonMiss Shirley NevilleDr Jennifer M NewtonDr Kersti NogesteCarolyn NorrieKathleen Y NowikMr Richard O'DwyerDiane O'Flaherty & Verna OakleyThe Late Kathleen O'HaraCatherine L OsborneMrs Sue PeriniMrs M M PetersMargaret PhillippsD E PiddThe Late Lady (June) PorterMario ProtoThe Late Mrs Diana Ramsay AO DSJPenelope S RawlinsKenneth R Reed AMDr Stephen Rodgers-

Wilson & the late Dr Diane PalmerRhonda & Peter RogaRichard RossCaroline J Ross-SmithMs Ros RussellMrs Margaret SaultMargot SeeleyRhonda SheehyMr & Mrs Charles SheldonMr Michael ShortStephanie Shwabsky in memory of Betty ShwabskySara J SimpsonGary Singer & Geoffrey SmithElvira SinicinsMr Alan Smith & Mr Daryl AndersonProf Nerida A SmithLady Southey ACMs Miranda StarkeAnnie StephensMs Juanita StockwellMiss Pat SutherlandDeb SuttonElizabeth SwantonSusanne SweetlandRegine SzmulewiczMs Susan TaylorSandra Taylor-BowmanDr Christine ThevathasanShirley A TinkMichele & Mario TopcicDr Sally TownsendMiss Ruth TraitPatricia TylerMrs Jean UptonJohn & Susan VanderstockHon Rosemary VartyMs Jill VaughanPeter VaughanMrs Jacqueline WallaceKenneth W WatkinsPamela WhalanDinah Whitaker in memory of Emma ToussaintBrenda WhiteMargaret Amery WhiteBarry & Megan WillcoxDeb WilliamsJan WilliamsLeonard J WilsonRay Wilson OAMMs Sallyann WilsonJosie Woodgate OAMYvonne YendellDamian YoungVictor & Christine ZemancheffMrs Ruth ZionzeeAnonymous (72)

Mr L Kevin AdairAlexandra AdamsMrs Sheila AdamsRichard Allert AM FCA & Barbara AllertPatricia AndersDr Greta ArchboldLorelei Anne BacheDr Lorraine BakerMrs Mary BarlowDr Rosemary BarnardMs Jennifer BarnesLesley M BawdenPhilip & Laurel BendreyMr Ken BloxsomTamara & Mark BoldistonPatricia BoyleAnn & Derek BrahamDonna BrearleyPatricia A BreslinMs Christine A Brewer Mrs Margaret Broeks

Beverley A Brown OAMJannie BrownDr Roger BrownJennifer Brukner & The late John BruknerMs Deborah BuckettDr Sheena L BurnellTrish ByrnePam CaldwellMr John Calvert-Jones AM & Mrs Janet Calvert-Jones AOThe Late Dr Brian T CareyRobert E A CarliRowena CatchatoorFrank & Danielle ChamberlinRon & Luci ChambersMiss Beverley F ClarkRosalie & Graeme ClarkJanet Cliff & Jenny TurnbullJoyce Clothier OAM

Patricia Concannon in memory of Ruby ConcannonJudy ConnorDr Margaret CookCaroline Cooper MVOMs Joanne CoughlinMr Jim Cousins AO & Mrs Libby CousinsJudith CowdenMiss Katrina CowenMrs Joan CowieLaurie CowledAdam & Donna Cusack-MullerMrs Maree D'AlterioJohn DalyAnn Darby in memory of Kath & Jim DarbyMrs Merawyn DaviesDavid de Verelle-HillAndrew R. Dixon in memory of Phyllis J. Manning

The impact of making a gift in your will to The Australian Ballet is truly profound, and will continue to benefit generations of ballet lovers and dancers, as well as the art form we all love and admire. Nearly 300 members of the Ballet family have confirmed a bequest to The Australian Ballet.

“The Australian Ballet has not only been my career but also my life’s passion, so by including the company in my will I hope I can assist many others to experience the wonderful joy of dance.” Colin Peasley OAM Planned Giving Ambassador

PLANNED GIVING – DAME PEGGY VAN PRAAGH LEADERSHIP CIRCLE



Lucien Xu with artists of The Australian Ballet. Photography Daniel Boud

Liz RuggieriPlanned Giving ManagerVIC/TAS/SA/WA03 9669 [email protected]

Nick Hays Philanthropy ManagerPatrons Manager - QLD/WA 03 9669 [email protected]

Ben LeePatrons ManagerVIC/TAS03 9669 [email protected]

PHILANTHROPY TEAM

FOR A CONVERSATION ABOUT PHILANTHROPY PLEASE CONTACT:

Kenneth Watkins Philanthropy Director03 9669 [email protected]

Jane Diamond Patrons Manager NSW/ACT 02 9253 [email protected]

Heather McNicol Planned Giving Manager NSW/ACT/QLD 02 9253 [email protected]

Mr Reginald Edward Gregory MBE & Mrs GregoryPatricia Marie SmitPatricia Hope WillisColin Robert MarshallHazel GrahamEthel Margaret Ewing CuttenRobert J ShipsidesE M BlackPaul SinclairMrs M M C DjordjevicDr George GarrattRobert Salzer AOBetty Gleeson-WhiteClifford BurgessKeith M ChristensenWilliam Arthur Hugh GordonFreda Eileen SpicerAsle Noel ChiltonGwendolyn Letitia TennantSir Robert Southey AO CMGBrenda June McGowanMr Will NobleNorma Lucas PayneMrs Ila Leland Massy Burnside

Gay John Therese ClarkeGwendoline I TregearLesley Morgan SperryGwen HuntMrs Patricia McSpeerinMr Noël Pelly AMLady Snedden AMWilliam F WellsMrs Thora PearceMiss Ann WilliamsMr Ian Berkeley SmallNola Joan HassallJean HammondMr A S LeslieMr Laurie DaviesEsther Primrose Lucy Gertrude PoelmanDame Joyce Margaretta DawsLady Nancy Fairfax AM OBEErnest SpinnerMargery I PierceBarbara Bishop HewittMrs Sylvia BoxDr Donald WrightMrs Sally SinisoffBetty June DrabschMarianne MartinMr Norman Drogemuller OAM

Jean M NegusDr Dawn Meryl ThewJudith Gwen NewberryDuncan Elphinstone McBryde LearyMiss Ruth Margaret DavidsonDr Alf HowardMs Jane D CrawfordMr Harold G Marshall AMMuriel LeadbeaterMelba Alma CromackPatricia Cameron-StewartCanon Albert McPhersonCharles Ross AdamsonMiss Sheila Scotter AM MBEHarold Bruce CadellMrs Rosemary Campbell OAMPauline Marie JohnstonPeter & Barbara ShearerMary Sylvia Joyce JonesPeter Langford AMNorman StevensDr Lynn Harvey JosephJanet FischerDr Diana TolhurstDr Richard VeseyMrs Anne Gluyas

Ronda Anne ChisholmMrs Dorothy (Deri) SaundersMr Wilfred John StantonJacques Spira OAM & Edith SpiraMr George FosterCorel GarlingJanice PettersonMr Antony WilliamsPatricia Speher VanderwalMr Arthur L Norcott & Mrs Roma NorcottPaula Jacqueline SwainBetty Amsden AOChristine Ann BrownDr Brian T CareyValerie Ellen MooneySusan FitzpatrickJoan Winsome Maslen Ainsley GottoLionel Frederick Hann & Harry John ColliganJohn N MannRita Doreen FletcherGeorge W Gregson Judith Mary SteeleAlan John RobisonJoyce Johnston Anonymous (27)

PLANNED GIVING – ESTATES

The Australian Ballet gratefully acknowledges all the bequests it has received from the following ballet lovers. We are exceptionally privileged to be able to realise the dreams and aspirations of these individuals to see their legacy become a part of the company’s history.

CONTACT PHILANTHROPY AT THE AUSTRALIAN BALLETPhone: 1300 752 900Monday – Friday, 9am – 5pmOnline: www.australianballet.com.au/donateEmail: [email protected]: The Australian BalletPhilanthropy DepartmentPrimrose Potter Australian Ballet CentreLevel 6, 2 Kavanagh StSouthbank VIC 3006



M E L B O U R N E

ORCHESTRA VICTORIA

Arts Centre Melbourne PO Box 7585 St Kilda Road Melbourne Vic 8004

Telephone (03) 9281 8000

Website artscentremelbourne.com.au

Victorian Arts Centre Trust

James MacKenzie (President)

Frankie Airey

Paul Barker

Warwick Bray

Catherine McClements

Andrew Myer AM

Ian Roberts

Nora Scheinkestel

Helen Silver AO

Executive Team

Claire Spencer Chief Executive Officer

Deirdre Blythe Chief Operating Officer

Leanne Lawrence Executive Director, Human Resources

Fiona Poletti Executive Director, External Engagement

Melanie Smith Executive Director, Performing Arts

Beau Vigushin Executive Director, Customer Experience

Richard Zimmermann Executive Director, Philanthropy

Conditions of EntryArts Centre Melbourne welcomes everyone to visit our spaces and experience the performing arts. Conditions of Entry are available on our website www.artscentremelbourne.com.au

ARTS CENTRE MELBOURNE

Arts Centre Melbourne extends heartfelt thanks to our Arts Angels, whose generosity, loyalty and commitment ensure as many Victorians as possible can experience the joy of the performing arts here in Melbourne.

CONCERTMASTER Vacant

Erica Kennedy*

Yi Wang*

DEPUTY CONCERTMASTER Roger Jonsson

VIOLIN Principal 1st Violin Yi Wang

Principal 2nd Violin Monica Naselow

Associate Principal 1st Violin Tomomi Brennan

Associate Principal 1st Violin Erica Kennedy

Rebecca Adler

Binny Baik

Alyssa Conrau §

Rachel Gamer

Matthew Hassall

Rachael Hunt

Philip Nixon

John Noble

Chris Ruiter

Lucy Warren

Tony Zhai

Vacant

Vacant

Jenny Khafagi+++

Jo Beaumont+

Natasha Conrau+

Emma Hunt+

Edwina Kayser+

Miranda Matheson+

Lynette Rayner+

Lisa Reynolds+

Charlotte Ryssenbeek+

VIOLASection Principal Paul McMillan

Associate Principal Vacant

Jason Bunn**

Catherine Bishop

Nadine Delbridge

Vacant

Beth Hemming+

Tom Higham+

Matthew Laing+

Cora Teeuwen+

CELLOSection Principal Melissa Chominsky

Associate Principal Diane Froomes

Sarah Cuming

Philippa Gardner

Tania Hardy-Smith

Andrea Taylor

Daniel Smith+

Zoe Wallace+

DOUBLE BASSSection Principal Stuart Riley


Matthew Thorne

Vacant

Emma Sullivan+++

Shannon Birchall+

Isabella Brown+

Nic Synot+

FLUTESection Principal Lisa-Maree Amos

Associate Principal Karen Schofield

Principal Piccolo Vacant

Rebecca Johnson++

Dominique Chaseling++

Lauren Gorman+

Jennifer Timmins+

OBOESection Principal Vacant

Associate Principal Joshua de Graaf***

Principal Cor Anglais Dafydd Camp

Michael Pisani+++≠David Reichelt++

Stephanie Dixon+

Jasper Ly+

CLARINETSection Principal Paul Champion

Associate Principal Justin Beere

Principal Bass Clarinet Vacant

Lloyd Van’t Hoff++

Robin Henry++

Sandra Ismail+

Amy Whyte+

BASSOON Section Principal Lucinda Cran


Principal Contrabassoon Timothy Murray

Lyndon Watts+++

Matthew Angus++

Amanda Lee+

Christopher Martin+

HORNSection Principal Jasen Moulton


Principal Third Horn Linda Hewett

Sydney Braunfeld

Rachel Shaw §

Anton Schroeder++

Sharon Hatton+

Rebeca Luton+

Robert Shirley+

Melanie Simpson+

TRUMPETSection Principal Mark Fitzpatrick

Associate Principal Anthony Pope

Vacant

Timothy Francis+++

Michael Olsen+

Louisa Trewartha+

Allison Wright+

TROMBONESection Principal Scott Evans


Principal Bass Trombone Benjamin Anderson

Robert Collins+++

Simon Baldwin++

Jessica Buzbee+

Pius Choi+

TUBAPrincipal Karina Filipi+

Nelson Woods++

TIMPANISection Principal Guy du Blêt

Orchestra Victoria is assisted by the Commonwealth Government through the Australia Council, its arts funding and advisory body

Orchestra Victoria is supported by the Victorian Government through Creative Victoria.

Principal Regional Partner

PHILANTHROPY AT ORCHESTRA VICTORIA

MUSICAL CHAIRS

Ms Linda Herd Supporting Principal Cor Anglais

Susan and Leith Campbell Supporting Associate Principal Clarinet

ANNUAL GIVING

The Conductor's Podium Gifts $35,000+

Mr Robert Albert AO RFD RD & Mrs Elizabeth Albert

Leader Circle Gifts $10,000 - $34,999

Mr Richard Guy OAM & Ms Claire Guy

Ms Linda Herd

Dr Peter A Kingsbury

Avner Klein & Maria Pannozzo

Don & Angela Mercer

Mrs Margaret S Ross AM

Performer Patrons Gifts $5,000 - $9,999

Gaye & John Gaylard

Hans & Petra Henkell

Dr Alastair Jackson AM

Judith & Alasdair McCallum

Patrons Gifts $1,000-$4,999

David and Cindy Abbey

Matthew & Joanne Angus

Marc Besen AC & Eva Besen AO

Tom Bruce & Beth Brown

Peter and Ivanka Canet

Mr Jim Cousins AO & Mrs Libby Cousins

PERCUSSIONSection Principal Mathew Levy


James Townsend+++

Robert Allan+

Stephen Falk+

Peter Neville+

Scott Weatherson+

HARPSection Principal Vacant

Delyth Stafford++++

Megan Reeve+++

Key * Acting

** Acting Associate Principal

*** Acting Section Principal

§ On Leave

+ Guest Musician

++ Guest Principal

+++ Guest Associate Principal

++++ Guest Section Principal

≠ Courtesy of Melbourne Symphony Orchestra

MANAGEMENTArtistic Director Nicolette Fraillon AM

Executive Director Sara Pheasant

Head of Orchestra Management Angela Chilcott

Project Manager Elise Lerpiniere

Orchestra Manager Harriette Blanden

Orchestra Project Coordinator Laura Message

Operations Assistant Rachel Owen

Orchestra Librarian Glynn Davies

Marketing Specialist Melissa Ray

Marketing Coordinator Keshia Contini

Orchestra Accountant Senthil Radha

External Relations Account Manager Fiona Gosschalk

Patrons Manager Olivia Passmore [email protected]

BOARD

Libby Christie Angela Kelly David McAllister AM

Ed & Marj Eshuys

Peter Griffin AM & Terry Swann

Louis J. Hamon OAM

Russell & Jenni Jenkins

Peter & Carmel Johnson

G Croft

Peter McLennan & John Lander

Michelle and Ian Moore

Marie Morton FRSA

Prof David Penington

Lady Primrose Potter AC CMRI

Kerryn Pratchett

Mr John Redman

Jan & Keith Richards

Adrienne Shaw

Libby Smith

P & J Spark

Bruce & Leona Sterling

Sarah Tehan

Elizabeth & Hank Van Herk

Igor & Jenny Zambelli

Anonymous

Supporters Gifts $100 - $999

(35)

INSTRUMENT ACQUISITION FUND

Susan and Leith Campbell

ENDOWMENT FUNDS

Education

The Judith & Alasdair McCallum Fund

Lesley & Bob Qualtrough Bequest

Hamilton and Western District

Geoff and Helen Handbury Foundation

Estates

Mrs Neilma Baillieu Gantner

PLANNED GIVING

G C Bawden & L de Kievit

Lesley M Bawden

Canny Quine Foundation

Cusack-Muller Bequest

TRUSTS AND FOUNDATIONS

Australian Communities Foundation – Hamer Family Fund

Besen Family Foundation

Gwen & Edna Jones Foundation

The Robert Salzer Foundation

The William Buckland Foundation


ORCHESTRA VICTORIAis a wholly owned subsidiary of The Australian Ballet. T: (03) 9694 3600 www.australianballet.com.au


Alice Topp. Photography Daniel Boud


C O M PA N Y A N D D I R E C T O R S

MELBOURNE

The Primrose Potter Australian Ballet Centre, 2 Kavanagh St, Southbank Victoria 3006 Telephone 1300 369 741 [email protected] australianballet.com.au

SYDNEY

The Australian Ballet Level 4 10 Hickson Road, The Rocks Sydney 2000 Telephone (02) 9253 5300 The Australian Ballet ABN 57 004 849 987

PATRON

His Excellency General the Honourable Sir Peter Cosgrove AK MC (Ret’d), Governor-General of the Commonwealth of Australia

BOARD

Chair Craig Dunn

Directors Olivia Bell – Dancers’ Director Annabelle Chaplain John Ellice-Flint Penny Fowler Catherine Harris AO PSM Catherine Livingstone AO Edwina McCann Tony Osmond Bruce Parncutt AO

Global Ambassador Sarah Murdoch

FOUNDATION BOARD

Chair Edwina McCann Arun AbeyMary BarlowHayley BaillieDi BertalliBill Bowness AONatasha BownessPrue BrownRobin CampbellColin Carter AMGeorgina CurranCara ElsleySuellen EnestromJane FreudensteinFrances InghamSarah InghamGail MarshallJodie Maunder Robert McCormack AMKaren MorrisonMaria PannozzoLynne Wright

Honorary Life Members Past & Present

Dame Peggy van Praagh DBE NR Sneddon AO CBE Sir Ian Potter Sir Robert Helpmann CBE Sir Robert Southey AO CMG Noël Pelly AM Dr HC Coombs Ila Massy Burnside John McCallum AO CBE Elizabeth Albert Robert O Albert AO RFD RD John Calvert-Jones AM Timothy KF Cox AO Maina Gielgud AO FW Miller AO CBE Colin Peasley OAM Lady Potter AC CMRI Dame Margaret Scott AC DBE Lady Southey AC Josephine Woodgate OAM Marilyn Rowe OBE Ian McRae AO Peter Smedley Dr Valami Pidgeon AM

Lynnette Harvey Mrs Roslyn Packer AC Graeme Murphy AO Janet Vernon AM Peter Clemenger AO Joan Clememger AO Prof John Rose AO Diana Ramsay AO Lady June Porter Julie da Costa OAM Kenneth R Reed AM David Crawford AO Christopher Knoblanche AM Barbara Duhig Marilyn Jones OBE Stephen Baynes Jim Cousins AO Sarah Murdoch Bill Bowness AO Frances Gerard Susan Morgan Beverley Brown OAM Barbara Marrett Toni Cody

ARTISTIC DIRECTOR David McAllister AM

EXECUTIVE DIRECTOR Libby Christie

MUSIC DIRECTOR & CHIEF CONDUCTOR Nicolette Fraillon AM

Executive Assistant to Artistic Director Kate Longley

Executive Assistant to the Executive Director Sarah Monaghan

ARTISTIC

Ballet Artistic Associate & Principal Coach Fiona Tonkin

Ballet Mistress & Repetiteur Elizabeth Toohey

Ballet Master Regional & Storytime Tours Paul Knobloch

Ballet Master & Regional Touring Associate Steven Heathcote AM

Ballet Mistress & Rehabilitation Specialist Megan Connelly

Guest Teacher Tristan Message

Resident Choreographers Stephen Baynes Tim Harbour Alice Topp Stanton Welch AM

Music Executive Assistant to Music Director & Chief Conductor Alexandra McKnight

Assistant Conductor Simon Thew

Principal Pianist & Music Librarian Stuart Macklin

Pianist & Associate Music Librarian Duncan Salton

Pianists Brian Cousins Kylie Foster

The Hephzibah Tintner Foundation, and the Robert and Elizabeth Albert Conducting Fellow Patrick Burns

Artistic Management Senior Artistic Coordinator Alex Wyatt

Artistic Coordinator Robyn Begg

Education Head of Education Katy McKeown

Dance Development Officer Jasmin Dwyer

Dance Education Presenters Alexander Mitchell Yvette Sauvage Chantelle van der Hoek Ben Obst

Education Administrator and Content Coordinator Sophia Bender

Medical Principal Physiotherapist & Medical Team Manager Susan Mayes

Physiotherapists Sophie Emery Bridy White Michelle Bergeron

Myotherapist/Massage Therapists Shaun Bryce Brad Moffitt

Exercise Instructors Sakis Michelis Darren Spowart

Consultant Sports & Exercise Physician Dr Andrew Garnham

General Practitioners Dr Vicki Higgins Dr Jason Lam

STAGE

Director, Production & Planning Chris Yates

Artistic Planning and Operations Director of Artistic Planning Helen McCormack

Head of Artistic Planning Tessa Kay

Contract Administrator, Artistic Noeleen King

Associate Producer, Regional Touring and Storytime Ballet Hannah Beer

Company Manager Jess Jellie

Deputy Company Manager Kate Peters

Assistant Company Manager Hannah Denison

Technical Technical Director Jon Buswell

Stage Manager Deborah Whiteley

Assistant Stage Managers Drew Cipollone Christabel Fry

Head of Staging Operations Bart Kendall

Head of Lighting Graham Silver

Wardrobe Master Geoffrey Harman

Deputy Head of Touring Wardrobe Valantine Turner

Head Mechanist & Head Flyman

Tom Cole

Deputy Head Mechanists Tom Paine Taylor Chen

Lead Mechanist Pip Strachan

Head Electrician Adrian Siggs

PRODUCTION

Business Manager, Production Darren Conway

Production Wardrobe Head of Costume Workshop Musette Molyneaux

Costume Administrative Coordinator Eloise Fryer

Wardrobe Coordinators Jenny Howard Christie Milton

Senior Gentlemen's Cutter Marsia Bergh

Senior Ladies’ Cutter Ruth Bartel

Cutters Sophia Cameron Etai Alves Georgiana Russell-Head

Costumiers Ruth Owen Lillian Hull Jessie Dole Rhiannon Irving Alice Mere Kate Powers Emily Lewis

Wig Supervisor Alison Kidd

Production & Design Production Design Coordinator Kat Chan

Production Centre Production Facilities Manager Avon Kilcullen

Production Centre Costume Coordinator Penelope Bjorksten

Collections Program Manager Tessie Scott

Production Facilities Storeman Andrew Nish

MARKETING, COMMERCIAL AND AUDIENCE DEVELOPMENT

Director Marketing, Commercial & Audience Development Penny Rowland

Executive Assistant Melanie Swieconek

Marketing Senior Marketing Manager Renee Colquhoun

Marketing Managers Stephanie Corne Melissa Ray

Marketing Specialist Jackie Money

Marketing Coordinator Keshia Contini

Lead Graphic Designer Ashleigh Hills

Graphic Designers Lucy Brown Stephen Wood

Audience Engagement Audience Engagement Manager Viviana Sacchero

Audience Engagement Program Coordinator Mary Grul

Digital Digital Manager Joanna O'Connor

Content Expert Rose Mulready

Social Media Specialist Hannah Leane

Digital Specialist Maeve Ashby/Sam Sally Cha

Recording & Broadcast Recording & Broadcast Manager Robyn Fincham

Content Creator David Ward

Public Relations Public Relations Manager Kate Muir

Publicists Anthea Waller Sophie Rennard

Customer Experience & Ticketing Senior Manager, Customer Experience & Ticketing Steven Payne

Customer Knowledge Manager Richard Laslett

Ticketing Operations Manager Shannon Toyne

Tessitura Database Coordinator Viraj Godbole

VIP Ticketing Specialist Rose McNeill-Young

Customer Experience Team Leader Perry Hingston

Customer Experience Assistants Emily Klug Sara Klug Mary Grul Natalie Howe Gabrielle Monaghan Jonathan Gormann

Reception Lynne McDougall

EXTERNAL RELATIONS Director External Relations Penny Waitsman

External Relations Partnership Managers Fiona Gosschalk Sarah Vick

External Relations Development Manager Matthew Henry

Account Executive Hannah Fulker

Account Coordinator Alyssan Russell

PHILANTHROPY

Director Philanthropy Kenneth Watkins

Executive Assistant Philanthropy Sharyn Gilham

Philanthropy Manager Nick Hays

Patrons Manager (NSW & ACT) Jane Diamond

Patrons Manager (VIC & TAS) Ben Lee

Patrons Manager - Orchestra Victoria Olivia Passmore

Planned Giving Managers Liz Ruggieri Heather McNicol

Philanthropy Services Manager Adam Santilli

Ballet Ambassador Program Specialist David Wynne

Philanthropy Services Coordinator Diana Chatfield

Patrons Coordinator Philippa Clement - Levin

BUSINESS SERVICES

Finance

Chief Financial Officer & Director of Business Operations Sally Underwood

Executive Assistant Michelle Saultry

Finance Manager Carolyn Dryley

Manager, Forecasting, Planning and Analysis Nazif Marikar

Orchestra Accountant Senthil Radhakrishnan

Financial Accountant Diana Bedoya

Payroll & Indirect Tax Specialist Kristina Barisic

Accountant Stephanie Cornish

Assistant Accountants Isabel Pena Munevar Thilini Siriwardana

Information Technology Technology Manager David Cooper

IT Manager Damien Calvert

Web Developer Daniel Lukas

Building Management Office and Building Manager Tracy Hosier

Cleaners Lance Humphries John Athinis Casey McCormack Sayesha Neupane Estaban Llano

HUMAN RESOURCES

Director of Human Resources Angela Kelly

Human Resources Consultant Kate Reilly

correct as 22.01.19


THE AUSTRALIAN BALLET CINDERELLA

57

W I T H T H A N K S

In business, as in dance, the right partner is everything. Our corporate partners provide much-needed funds that help us realise our artistic vision, from producing exciting new ballets and staging iconic works to making a splash on the world stage. They also assist us behind the scenes, giving us product and in-kind support, which allows us to achieve excellence on both sides of the curtain.

Importantly, sponsors bring us closer to you. They help us to keep ticket prices affordable, visit communities across Australia and broadcast our ballets. We’d like to acknowledge the generosity of our current partners, whose support enables us to care for tradition, while daring to be different.

If you would like to learn more about our corporate partnerships program, please contact Penny Waitsman on 02 9253 5308 or email [email protected]

S U P P O R T I N G O U R E V E R Y S T E P

PRINCIPAL PARTNER

LEAD PARTNERS LEARNING PARTNER

Official property partner Official airline partner

MAJOR PARTNERS

GOVERNMENT PARTNERS INDUSTRY PARTNER

The Australian Ballet is assisted by the Australian Government through the Australia Council, its arts funding and advisory body

The Australian Ballet is supported by the NSW Government through Create NSW

The Australian Ballet is supported by the Victorian Government through Creative Victoria

SUPPORTING PARTNERS

Official piano partner

Official legal partner

MEDIA PARTNERS

Official pointe shoe partner

Official vitamin partner

Official cruise partner

Official jewellery partner


OPERATING IN SYDNEY, MELBOURNE, CANBERRA, BRISBANE, ADELAIDE, PERTH, HOBART & DARWIN

OVERSEAS OPERATIONS:New Zealand: Wellington: Playbill (NZ) Limited, Level 1, 100 Tory Street, Wellington, New Zealand 6011; (64 4) 385 8893, Fax (64 4) 385 8899.

Auckland: Mt. Smart Stadium, Beasley Avenue, Penrose, Auckland; (64 9) 571 1607, Fax (64 9) 571 1608, Mobile 6421 741 148, Email: admin@playbill.

co.nz.

UK: Playbill UK Limited, C/- Everett Baldwin Barclay Consultancy Services, 35 Paul Street, London EC2A 4UQ; (44) 207 628 0857, Fax (44) 207 628 7253.

Hong Kong: Playbill (HK) Limited, C/- Fanny Lai, Rm 804, 8/F Eastern Commercial Centre, 397 Hennessey Road, Wanchai HK 168001 WCH 38; (852) 2891

6799; Fax (852) 2891 1618.

Malaysia: Playbill Malaysia Sdn Bhn, C/- Peter I.M. Chieng & Co., No.2-E (1st Floor) Jalan SS 22/25, Damansara Jaya, 47400 Petaling Jaya, Selangor Darul

This is a PLAYBILL / SHOWBILL publication. Playbill Proprietary Limited / Showbill

Head Office: Suite A, Level 1, Building 16, Fox Studios Australia, Park Road North, Moore Park NSW 2021PO Box 410 Paddington NSW 2021Telephone: +61 2 9921 5353 Fax: +61 2

9449 6053 E-mail: [email protected] Website: www.playbill.com.au

This publication is sold subject to the condition that it shall not, by way of trade or otherwise, be lent, resold, hired out or otherwise circulated without the publisher’s consent in writing. It is

All enquiries for advertising space in this publication should be directed to the above company and address. Entire concept copyright. Reproduction without permission in whole or in part of any material contained herein is prohibited. Title ‘Playbill’ is the registered title of Playbill Proprietary Limited.

INSTAGRAM

@ausballetFACEBOOK

theaustralianballetYOUTUBE

theaustralianballetPINTEREST

behindballetBLOG

australianballet.com.au/blog

TWITTER

@theausballet

PLAYBILL AD 55

The cast for this performance is available on the nightly cast list which is issued free of charge to patrons. The Australian Ballet reserves the right to cancel or alter any detail of this season, or any performance forming part of this season, as it considers necessary.

FOR THIS PRODUCTION

Costumes manufactured by the Production Division of The Australian Ballet

Scenery & properties manufactured by Show Works

Specialist props manufactured by Nicholas Dunand, Propstuff

Furniture upholstered by Pat Navascues, Navascues Upholstery

Scenery painted by Scenic Studios

Scenic Printing by Bravo Print & Design Pty. Ltd.

Scenic Cloths supplied by Imported Theatre Fabrics

Program edited by Rose Mulready

Graphic Designer Jasmin Tulk

The Australian Ballet portrait photography by Daniel Boud

Experience Classes with The Australian Ballet School

Join us for classes taken by expert teachers of The Australian Ballet School.

Visit our website to find out more.

australianballetschool.com.au

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PLAYBILL AD 55


19 – 28 MARCH 2019 | ARTS CENTRE MELBOURNE

Documents

THE AUSTRALIAN BALLET CINDERELLA 1 · Scene 2 Cinderella, returned to her workaday life, treasures her memories of the enchanted night with the Prince, but holds little hope of seeing