The Australian Ballet presents a Year of Beauty - 2015 Season

2015 SEASON A YE AR OF B E AUT Y

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DON’T MISS A MOMENT WITH A 2015 SEASON PACKAGE

WELCOME TO 2015 A YEAR OF BEAUTY

Ballet embodies all that is beautiful about the human experience. It tells stories without uttering a word. Beauty is ballet’s driving force, and its demanding aesthetic – once mastered – frees the dancer and choreographer to create art that can transport us to a different time and place.

We have our own unique Australian beauty, powered by athleticism, and our dancers have a strength that is dynamic and exciting.

They are fearless and optimistic, thriving on the myriad challenges of ballet in the 21st century, and their diversity beautifully reflects our rich and inclusive Australian culture.

“ W E HAVE A UNIQUE AUSTRALIAN BEAUTY, POWERED BY ATHLETICISM” Beauty, magic and romance are the elements that bind our 2015 season. There are happy endings for Cinderella and her Prince, and for the fairies and immortals in Frederick Ashton’s The Dream. There is redemption through tragedy for Siegfried and Odette, Albrecht and Giselle. There is also the sharp-edged, modern beauty of Balanchine and Stravinsky, Tharp and Glass, and a new work by Tim Harbour, each capturing the contemporary splendour of its time.

Then there is our new production of The Sleeping Beauty. I could not be more excited to take on this monumental work – a magical ballet where fairies and royalty live side by side and the birth of a princess brings out both the good and evil of the kingdom.

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I undertake this huge challenge in the best company, working with the extraordinary set and costume designer Gabriela Tylesova, the amazing lighting designer Jon Buswell and the inspiring dancers of The Australian Ballet.

Our Principal Partner Telstra shares our passion for innovation and connection, and, along with our Lead Partners Qantas and Samsung, enables us to share the beauty of ballet. From our Government partners comes funding that helps maintain the creativity of the nation; and it’s wonderful to celebrate our triumphs with our passionate donors, whose philanthropic support helps us realise our dreams. Finally, I want to thank you, our audiences, for the vital support which has made us the creative company we are today.

I hope you will join us in 2015 as we strive to bring yet a little more beauty into your lives.

David McAllister AM Artistic Director

“A masterpiece of design, concept and choreography, requiring outstanding dancers ... This company deserves to hold its head high as one of the greatest in the world.”

HERALD SUN

Adam Bull and Amber Scott in Graeme Murphy’s Swan Lake Photography Liz Ham

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TR AG I C B E AU T Y

A POWERFUL MASTERPIECE OF LOVE AND REDEMPTION

Graeme Murphy’s modern-day classic is a Swan Lake for the 21st century, charged with sensuality and heartbreak. The Australian Ballet’s most performed and most successful work has swept the world before it, reaping standing ovations and storms of tears in London, Paris, Tokyo, and New York. After a sell-out season in Melbourne in 2013, this powerful production returns to Sydney for the first time since 2008.

The romance of Odette and Prince Siegfried is updated (and complicated) to a contemporary love triangle with the addition of the Baroness von Rothbart, a slinky mistress who has no intention of releasing her freshly married lover. Murphy’s breathtaking pas de deux and massed swans are framed by legendary designer Kristian Fredrikson’s darkly sparkling lake, contrasted with the glittering magnificence of regal weddings and ballrooms. This is Swan Lake as you’ve never seen it before.

EXCLUSIVE SYDNEY SEASON 20 – 28 FEBRUARY Capitol Theatre with Orchestra Victoria

Curate as part of your Sydney Experience Package or add as an additional ballet to your Sydney Principal Package

Choreography Graeme Murphy Creative associate Janet Vernon Music Piotr Ilyich Tchaikovsky Concept Graeme Murphy, Janet Vernon and Kristian Fredrikson Costume and set design Kristian Fredrikson Original lighting design Damien Cooper

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“It’s a defining example of a classic restored with that uniquely Australian zeal … It has heart, story and an emotional truth.”

HERALD SUN

Adam Bull and Juliet Burnett in Giselle Photography Georges Antoni

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ROMANTIC BEAUT Y

LOVE, TRAGEDY AND UNEARTHLY GLAMOUR Love conquers death in the ultimate Romantic ballet. Since its premiere in 1841, Giselle has captured the imagination and torn at the heart.

A village girl falls in love with a man who is not all he seems. When she finds out his deception, she dies of a broken heart. Transformed into a spirit, she battles to save her lover in a wood haunted by the ghosts of jilted women.

For the ballerina, it offers a career-making opportunity to show off not just technique but emotional range, as she moves from an innocent girl to a tender, womanly spirit. Maina Gielgud’s acclaimed production, with Peter Farmer’s atmospheric designs, perfectly captures the ballet’s dramatic blend of real-life passions and otherworldly apparitions. Yearning, madness, supernatural forces and transcendent, redemptive love: Giselle is the Romantic era crystallised in one perfect work of art.

MELBOURNE 13 – 23 MARCH Arts Centre Melbourne State Theatre with Orchestra Victoria

SYDNEY 2 – 22 APRIL Joan Sutherland Theatre Sydney Opera House with Australian Opera and Ballet Orchestra

CANBERRA 21 – 26 MAY Canberra Theatre Canberra Theatre Centre with Canberra Symphony Orchestra

ADELAIDE 2 – 6 JULY Festival Theatre Adelaide Festival Centre with Adelaide Symphony Orchestra

Choreography Marius Petipa after Jean Corelli Production by Maina Gielgud Music Adolphe Adam Costume and set design Peter Farmer Original lighting design William Akers

Lead & Production Partner

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“This ballet is totally alive with both Shakespeare’s poetry and his earthy, timeless human comedy, all magically enmeshed in a gossamer web of choreography shimmering like moonlight on dewdrops” NEW YORK POST ON THE DREAM

Chengwu Guo and Madeleine Eastoe in The Dream Photography Georges Antoni

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E N C H A NTI N G B E AU T Y

AN EFFERVESCENT EVENING OF WONDER FOR THE WHOLE FAMILY

Mischievous sprites, troublesome loves and dazzling dance: this sparkling triple bill celebrates Frederick Ashton, one of the greatest influences on 20th-century ballet and the epitome of the English classical style.

Shakespeare’s most charming comedy is the basis for Ashton’s whimsical take on A Midsummer Night’s Dream. The fate of humans and fairies are hilariously entwined in a flowery bower designed for The Royal Ballet’s original 1960s production. Ashton traces the tangled love lines of the characters with warmth and wit, and Mendelssohn’s A Midsummer Night’s Dream is the perfect soundtrack for his elegant, playful choreography.

Two Ashton gems, Monotones II and Symphonic Variations, show the choreographer delighting in music and pure, airy movement.

This playful, captivating triple bill is perfect for all ages.

SYDNEY 29 APRIL – 16 MAY Joan Sutherland Theatre Sydney Opera House with Australian Opera and Ballet Orchestra

MELBOURNE 4 – 13 JUNE Arts Centre Melbourne State Theatre with Orchestra Victoria

ADELAIDE 8 – 9 JULY Festival Theatre Adelaide Festival Centre with Adelaide Symphony Orchestra

THE DREAM Choreography Frederick Ashton Music Felix Mendelssohn orchestrated by John Lanchbery MONOTONES II Choreography Frederick Ashton Music Erik Satie orchestrated by Roland Manuel SYMPHONIC VARIATIONS Choreography Frederick Ashton Directed, supervised and staged

by Wendy Ellis Somes and Malin Thoors Music César Franck

Production Partner

Media Partner

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“Ratmansky has packed his Cinderella with loveable characters, warm humour and meaty choreography, creating a wonderful modern fairytale.�

THE AGE

Amber Scott in Cinderella Photography Lynette Wills

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FAI RY TA LE B E AU T Y

EVERYONE’S FAVOURITE FAIRYTALE – WITH A TWIST Witty, vibrant, glamorous and romantic, Alexei Ratmansky’s Cinderella will sweep you off your feet. By popular demand, and after sell-out seasons in Melbourne, Sydney and Adelaide, this smash-hit crowd-pleaser returns to bewitch us again in an exclusive encore season.

Ratmansky, the most in-demand choreographer in the world and the master of the modern story ballet, fills every bar of Prokofiev’s cinematic score as he charts Cinderella’s journey from rags to rapture. Jerôme Kaplan’s vivid, sophisticated designs draw inspiration from Dior, Schiaparelli, the elegance of 1940s Hollywood, and Surrealist art. Like Ratmansky’s Cinderella – transported to the ball by planets and stars – we are whisked by this magical ballet to new heights of wonder.

Hailed as “effervescent and fun as festive champagne” [Daily Telegraph] and “exquisite from start to finish” [Crikey], Cinderella is “a triumphant addition to the repertoire” [Dance Australia]. Get ready to fall in love all over again!

EXCLUSIVE MELBOURNE ENCORE SEASON 19 – 27 JUNE Arts Centre Melbourne State Theatre with Orchestra Victoria

Choreography Alexei Ratmansky Music Sergei Prokofiev Costume and set design Jérôme Kaplan Original lighting design Rachel Burke Projection design Wendall K Harrington

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“It is a ballet that pushes excitingly from one climax to another” THE NEW YORK TIMES ON SYMPHONY IN THREE MOVEMENTS

Andrew Killian Photography Justin Ridler

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M O D E R N B E AU T Y

CELEBRATING THE PHYSICAL EXTREMES OF MODERN BALLET

The best of the 20th century, the freshest of the 21st: this electrifying triple bill showcases two giants of the New York dance scene and our newest resident choreographer.

George Balanchine’s Symphony in Three Movements is inspired by the revolutionary music of Igor Stravinsky, his friend and muse. This provocative piece kicks off with a line of chic dancers haughtily tossing their ponytails and blends the rigour of ballet with the vigour of jazz.

Twyla Tharp’s pulse-pounding In the Upper Room sets the stage alight with scarlet pointe shoes and sneakers, the driving music of Philip Glass and a bracing blend of classical and contemporary technique. It’s described

by Tharp as “the only piece I’ve done that generates a standing ovation at almost every performance”.

Be there for the unveiling of Resident Choreographer Tim Harbour’s newest ballet – a stripped-down work set to a contemporary electronic score, featuring set designs by cutting-edge architect Kelvin Ho. 20:21 – the most thrilling night of modern dance you’ll see this year.

MELBOURNE 27 AUGUST – 5 SEPTEMBER Arts Centre Melbourne State Theatre with Orchestra Victoria

SYDNEY 5 – 21 NOVEMBER Joan Sutherland Theatre Sydney Opera House with Australian Opera and Ballet Orchestra

SYMPHONY IN THREE MOVEMENTS Choreography George Balanchine ©The George Balanchine Trust Music Igor Stravinsky IN THE UPPER ROOM Choreography Twyla Tharp Music Philip Glass NEW WORK Choreography Tim Harbour Set design Kelvin Ho, Akin Creative

Media Partner

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Lana Jones in The Sleeping Beauty, styled in an archival costume by Hugh Colman.

Roses by Cecilia Fox floral studio.

Photography Georges Antoni

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TH E U LTI M ATE B E AU T Y

A LAVISH NEW BEAUTY FOR THE MODERN AGE Fairies, bluebirds, a gilded court and a spell-shattering kiss: the world’s most extravagant ballet is awakened to new life by our Artistic Director David McAllister.

The Sleeping Beauty, with its Rose Adage, its grand pas de deux, its charming variations and its enchanting Tchaikovsky score, is the zenith of ballet’s golden age.

Keeping true to the spirit of the traditional Beauty, David McAllister will direct a production that gives thrilling rein to the talents of the entire company. Lavish sets and costumes by Gabriela Tylesova, whose work for ballet, opera and theatre includes the much-lauded designs for Love Never Dies, will evoke the splendour of the Imperial court and the magic of fairies, nymphs and visions.

The much-anticipated world premiere of this landmark production will be the crowning moment of the year. Don’t miss the moment when this majestic Beauty opens her eyes.

MELBOURNE 15 – 26 SEPTEMBER Arts Centre Melbourne State Theatre with Orchestra Victoria

PERTH 7 – 10 OCTOBER Crown Theatre Perth with West Australian Symphony Orchestra

SYDNEY 27 NOVEMBER – 16 DECEMBER Joan Sutherland Theatre Sydney Opera House with Australian Opera and Ballet Orchestra

Director David McAllister Choreography Marius Petipa Music Piotr Ilyich Tchaikovsky Costume and set design Gabriela Tylesova Lighting design Jon Buswell

We celebrate the philanthropists who have made this production possible, with special thanks to: THE PRINCE Kenneth R Reed AM

BLUEBIRD Francesca Roslyn Packer Barham Indigo Alice Packer Emmanuelle Sheelah Packer

Media Partner

Supporting Partner

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THE ROYALS The Australian Ballet Society Friends of The Australian Ballet (NSW) Ltd McCusker Charitable Foundation

C A R A B O S S E b y G a b r i e l a Ty l e s o v a

THE MAKING OF THE SLE E PING B E AUT Y These illustrations by acclaimed designer Gabriela Tylesova for David McAllister’s new production of The Sleeping Beauty give a taste of what is to come: a fresh and inventive ballet with a glorious heritage look.

Follow the creation of David McAllister’s The Sleeping Beauty on behindballet.com

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FA I R Y O F G R AC E b y G a b r i e l a Ty l e s o v a 19

BRING BEAUTY TO LIFE A RARE OPPORTUNITY TO SUPPORT THE CREATION OF THE SLEEPING BEAUTY

DAVID MCALLISTER ON HIS VISION

AN INVITATION FROM SARAH MURDOCH, DEPUTY CHAIR OF THE AUSTRALIAN BALLET “I can think of no greater nor more exciting ballet for David McAllister to put his name to than The Sleeping Beauty. Showcasing Petipa’s choreography, Tchaikovsky’s colourful score, a designer of international repute and the great artists of this company, this new work has all the hallmarks of success. I invite you to embrace this rare and exciting chance to be a part of the creative journey from the very beginning and to support David’s breathtaking new Beauty for The Australian Ballet.”

“In 2015, 40 years after first watching the Bluebird Pas de deux as a young boy, I am taking on the mantle of director to create a new production of the third and greatest of the Tchaikovsky ballets, The Sleeping Beauty. This production will be a 19th-century classic for a 21st-century audience, following Petipa’s choreography but deepening and clarifying the drama.

Knowing the talented dancers that we have in the company today, I really look forward to letting them shine in this brand-new traditional production.

“The sets and costumes will be by acclaimed designer Gabriela Tylesova, who says, ‘The Sleeping Beauty is a fantastic piece which has been on my dream list for a long time … There will be hundreds of costumes: bejewelled, enchanting tutus; ornate robes; layered period dresses; sparkling headdresses; wings, and more. Embarking on this journey will be like travelling back to the land of my childhood dreams.’

“I hope you will join me in bringing the magic and glory of this fairytale favourite to life.”

BECOME A PART OF THE SLEEPING BEAUTY Join us by making a gift with your 2015 Season Package.

We invite donors both new and longstanding to go above and beyond to access this rare creative opportunity and make your mark onstage.

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BALLET CHAMPIONS Become a campaign “Champion”, aligned with the gifts of jewels and character presented to Aurora by the fairies of The Sleeping Beauty. ·D iamond (The Gift of Grace) $20,000 + ·S apphire (The Gift of Generosity) $10,000 – $19,999 ·G old (The Gift of Joy) $5,000 – $9,999 ·S ilver (The Gift of Temperament) $1,000 – $4,999 DEVOTEES · F riends $500 – $999 · G arland $100 – $499 Ballet Champion and Devotee donors will receive regular email updates about the creative journey – providing a rare insight into the creative process – and will be recognised on our website and in our 2015 annual report. Champions will also be acknowledged in The Sleeping Beauty souvenir program.

With your generous support we can create a masterpiece that we can proudly present to the world. Join us!

Kenneth Watkins Director of Philanthropy 03 9669 2780 kennethw@australianballet.com.au We celebrate the magnanimity of our donors, to inspire and encourage others to give; however, we respect your privacy, so please advise if you wish to remain anonymous.

All gifts $2 and over are tax deductible.

ABN 57 004 849 987.

A HISTORY OF THE SLEEPING BEAUTY 1890 Marius Petipa works with Piotr Ilyich Tchaikovsky to create the first Beauty for the Imperial Theatres in St Petersburg. This lavish, hours-long pageant becomes the city’s latest craze, and inspires nine-year-old Anna Pavlova to become a dancer.

1921 Sergei Diaghilev’s Ballets Russes premieres its production in London. Renamed The Sleeping Princess, the ballet features designs by Léon Bakst of such opulence that they push the production wildly over budget.

Unable to meet its debts, the Ballets Russes is forced to flee the city, leaving the ballet’s sets and costumes behind.

1946 The Royal Ballet reopens Covent Garden after World War II with an exquisite version of The Sleeping Beauty starring Margot Fonteyn and Robert Helpmann.

Choreographed by Frederick Ashton, it begins the West’s infatuation with the ballet.

1964 The Australian Ballet gets its first taste of Beauty when Artistic Director Peggy van Praagh choreographs a production of its final act, Aurora’s Wedding.

1973 The new Sydney Opera House opens with the world premiere of The Sleeping Beauty, directed

by Robert Helpmann.

Photography Georges Antoni

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1984 The Australian Ballet opens the new Victorian Arts Centre with the world premiere of Maina Gielgud’s The Sleeping Beauty, designed by Hugh Colman.

The production will later be acclaimed by London critics and audiences when it is performed at Covent Garden.

2005 Stanton Welch, one of The Australian Ballet’s resident choreographers, creates a new Beauty for the company with fanciful costumes by Kristian Fredrikson.

2012 Matthew Bourne reimagines The Sleeping Beauty as a Gothic romance, with a vampire Lilac Fairy and a tomboy Aurora who falls in love with the gamekeeper.

2015 David McAllister’s vision for a 21st-century Beauty comes to life. Sumptuously designed by Gabriela Tylesova, this fresh traditional version is a culmination of the ballet’s long and illustrious journey from the Russian Imperial court to the stages of the West.

THE CRAF TSMANSHIP OF THE BALLET STEP INSIDE OUR WORLD AND YOU’LL FIND A BUSY NETWORK OF ELITE ARTISANS CREATING THE SPLENDOUR YOU SEE ON STAGE

Photography John Tsiavis and Kate Longley

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THE PRODUCTION CENTRE Treasured tutus, magicians’ cloaks, enchanted glades and glittering ballrooms nestle inside a vast purpose-built warehouse in Altona, Melbourne that contains our 30,000 cherished costumes and our lovingly made props, scenery and sets.

THE COSTUME ATELIER Tutus are cut using centuries-old techniques, beads and brocades are sewn by hand, tiaras and headdresses are fashioned by our milliner and feathers and fabrics are dyed to the perfect shade. Our costumes are made with the care given to couture.

THE SHOE ROOM A satin wonderland of hand-made, customised ballet slippers in all shades of pearl, shell-pink and russet. The pointe shoe is perfectly moulded to each dancer’s foot.

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Visit behindballet.com for more stories from inside our world

JOIN US BEHIND THE SCENES EXCLUSIVE EVENTS WITH YOUR 2015 SEASON PACKAGE

EXCLUSIVE TOUR: WHERE THE MAGIC HAPPENS

SPECIAL TALKS: STORIES FROM BEHIND THE CURTAIN

For the first time, we’re offering Season Package holders the exclusive opportunity to visit The Australian Ballet’s Production Centre in Altona, Melbourne – a 10,000 square-metre, custom-designed wonderland that houses over 50 years’ worth of archival costumes and over 130 large containers of props. You’ll be whisked to the Centre in a town car, hear incredible insights from our production team, get a tour of the costume archives and maybe catch a glimpse of our new production of The Sleeping Beauty in the making.

Don’t miss our series of special talks hosted by Artistic Director David McAllister, featuring guests from ballet and beyond. Add McAllister in Conversation to your Season Package for the special price of $10.

For more information visit australianballet.com.au/mcallister Our full program of public talks, tours and events will be launched in early 2015. For more information visit australianballet.com.au

Season Packages holders will receive their invitation to purchase tickets in January 2015. Places are strictly limited.

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Photography Jess Bialek

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EXPLORE OUR YEAR OF MUSIC MUSIC DIRECTOR AND CHIEF CONDUCTOR NICOLETTE FRAILLON ON THE SEASON’S MUSICAL HIGHLIGHTS

The music for our 2015 season is incredibly diverse. It ranges from the early 19th-century beginnings of ballet music through to sophisticated works in which music, emotion and drama closely match staging and steps, to avant-garde, out-there-sounding scores.

SWAN LAKE Part of the brilliance of Graeme Murphy is that he juxtaposes seemingly light, bright, brillante music with the desperation of Odette and her psychological and emotional breakdown.

Act IV is the most incredible piece of music and runs the gamut of all the emotions we’ve experienced in the rest of the ballet, and I think it’s one of the most brilliant pieces of theatrical music ever created.

Ashton, in Symphonic Variations, is continuing the development of abstract ballet in which the music is the starting point for the dance. Great choreographers take the the structure and the emotional expression of the music and create a choreographic partner. The absence of one specific story allows us as an audience to create our own multiple stories.

CINDERELLA One of Prokofiev’s greatest strengths in his ballets is his really quirky instrumentation to represent characters or narrative.

A great example is the use of the tuba and the lower end of the orchestra for the comic moments for the ugly sisters or stepmother on stage … or magical moments like Cinderella appearing at the ball, accompanied by violin harmonics, flutes and the bell-like celeste, all of which reflect this moment of naïve wonderment.

It is very clean, clear, crisp neo-classic expression, definitely classical music of the 20th century but with real populist jazz and filmic feel. A truly great score and ballet.

THE SLEEPING BEAUTY The Sleeping Beauty is recognised as being probably the greatest of all 19thcentury ballet scores. Tchaikovsky uses every possible compositional device in creating powerful musical/dramatic storytelling: his genius permeates every single moment of the score.

The Rose Adage is a gem. Musically, Aurora is growing up in front of our ears and eyes: the music builds and builds and builds, becomes texturally more complex and dynamically louder, to a strong and emotionally compelling climax.

THE DREAM The Dream is one of my favourite ballets.

I’ve wanted The Australian Ballet to perform this ever since I joined the company. We have the perfect potential casts: you need technically brilliant boys as well as noble male heroes, from Puck to King Oberon, through to comic actors for the role of Bottom. You also need fairy-like, fleet-of-foot women and a very elegant, gracious Tatiana, and we have all of these.

SYMPHONY IN THREE MOVEMENTS Stravinsky created this symphony of war in 1945, just as World War II was ending ... it’s full of evocative and quite violent imagery. It’s not light entertainment at all; it’s Balanchine getting right inside Stravinsky’s head and reflecting, through very powerful choreography, everything that the musical score represents.

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Join Nicolette Fraillon for a series of FREE Music Talks throughout the year.

Full program announced in early 2015.

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“ B odytorque is such an important event and crucial to nurturing the next wave of dance makers” HERALD SUN

BODY TORQUE UP LATE SURPRISE PERFORMANCES THROUGHOUT 2015

Get ready to see the future of ballet unfold.

The Australian Ballet’s Bodytorque season continues to evolve in 2015 with unique “pop-up” performances after selected shows of The Dream and 20:21 in Melbourne and Sydney.

For over a decade now, Bodytorque has showcased the best new talent in ballet.

Artists of The Australian Ballet – from Tim Harbour (now our Resident Choreographer) to Alice Topp – have been given the opportunity to create world-premiere ballets on the company’s best up-and-coming dancers, often playing to sold-out houses.

Bodytorque will be reimagined for the future, but in the meantime, select audiences will be treated to surprise pop-up performances.

It’s Bodytorque … Up Late.

More information to be revealed in early 2015.

This season of Bodytorque has been supported by the William Arthur Hugh Gordon Fund, managed by Perpetual

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THANK YOU PRINCIPAL PARTNER

LEAD PARTNERS

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World-class luxury in the Great Barrier Reef

MEDIA PARTNERS

SUPPORTING PARTNERS

GOVERNMENT PARTNERS

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

INDUSTRY PARTNER

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

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

THE AUSTRALIAN BALLET

CAMPAIGN CREDITS

BROCHURE CREDITS

CONTACT US

Artistic Director David McAllister AM

Campaign creative by The Australian Ballet

Front cover Vivienne Wong

Executive Director Libby Christie

Hero photography art direction & production by Qube Konstrukt

Page 03 Vivienne Wong

Music Director & Chief Conductor Nicolette Fraillon

Hero photography by Justin Ridler

The Australian Ballet Box Office Level 4, The Primrose Potter Australian Ballet Centre 2 Kavanagh Street Southbank Victoria 3006

Dancers styled by Kate Gaskin, wearing Ellery, Alex Perry, Aurelio Costarella, Collette Dinnigan, Akira Isogawa and pieces from The Australian Ballet’s costume archives

Page 02 Amber Scott Page 04 Ako Kondo

Page 31 Ako Kondo

Customer Services Team PO Box 838 South Melbourne Victoria 3205

Back cover Amber Scott

1300 369 741

Page 27 Adam Bull and Amber Scott Page 29 Ako Kondo and Chengwu Guo

customerservices @australianballet.com.au

Flowers by Flowers Vasette 2015 film by The Apiary with music by Movement (Modular Recordings)

ABN 57 004 849 987 2015 season information australianballet.com.au/beauty

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