Talking Pointe Winter 2023

TALKING POINTE

WINTER 2023

The Australian Ballet acknowledges the Traditional Owners of Country throughout Australia and recognises their continuing connection to land, waters and culture. We pay our respects to their Elders past and present.

Front Cover: Principal Artist Ako Kondo

Above: Principal Artist Benedicte Bemet and Marcus Morelli Photos Christopher Rodgers-Wilson

In my 30 years at The Australian Ballet, I can honestly say that I have never been so excited by what a season has in store for all of us. The new era is taking off and David Hallberg is creating waves across the dance world.

This is the first year in the company’s history that philanthropy has entirely funded three full-length works in our repertoire. You’ll know from last year’s fundraising activities that the creation of Swan Lake has been a huge focus for us heading into our 60th year; it’s a creative endeavour that befits such a monumental milestone, and it has benefited greatly from the eager support of our giving community.

Equally meaningful are Jewels and Don Quixote, two shining gems in our diamond anniversary season that have been enabled by the generosity and visionary leadership of individuals in our Ballet family.

What’s clear to see is that philanthropy is laying the foundations for us to be brave. That realisation is as thrilling as it is humbling and, if I could, I would shake the hand of every single person who has made a gift to The Australian Ballet throughout the company’s lifetime.

You see, a company like ours doesn’t reach a milestone like this on its own. It takes a village to enable and inspire the work behind the scenes that creates the magic we ultimately see on stage. Without our village, we would not be able to create such a high standard of art and share it with so many people. It’s as simple as that.

It takes David Hallberg’s dream to celebrate The Australian Ballet’s 60 years in the most dynamic way; a company of talented dancers being inspired to be the very best they can be by the world’s finest creatives and coaches; the talented craftspeople behind the scenes creating the sets and costumes that take our breath away; generations of people, like you, who have donated what they can to support special projects and lift us up. Not forgetting our subscribers, who keep buying season packages and telling their friends to attend and enjoy the ballet.

Everyone in this cycle plays an invaluable role in the success of our precious company and makes a difference to the calibre of work you see on stage. Thank you for the role you have played in our history and for being with us as we look forward to the next 60 years of the company’s story.

This issue of Talking Pointe is a tribute to our village and shines the spotlight on just some of the people who have helped to build and sustain Australia’s national ballet company and paved the way for the next generation. I hope you enjoy their stories.

Kenneth Watkins am Philanthropy Director

“It takes a village.”

Kenneth Watkins am

Company news

As one decade of dance ends and another begins, we are at a pivotal point in The Australian Ballet’s history. A moment in time accented by a collection of exciting new beginnings and bittersweet endings that will help to shape a bright future for the art form and company we love so much.

Welcome, Lissa Twomey and Jonathan Lo

We have warmly welcomed new Executive Director Lissa Twomey and Music Director Jonathan Lo to our Ballet family this year, after farewelling Libby Christie and Nicolette Fraillon in December 2022.

Lissa and Jonathan joined us in January 2023 and, in true Australian Ballet form, have hit the ground running – immersing themselves in company life and the many exciting initiatives planned for our 60th anniversary year, and beyond.

You can read more about Lissa and Jonathan in this issue of Talking Pointe.

Visits from two very special members of The Australian Ballet’s extended family

A glittering anniversary season warrants some equally dazzling guests and, in preparation for our production of Don Quixote, The Australian Ballet was thrilled to see the return of two friends of the company, Daniil Simkin and Sylvie Guillem.

Daniil so enjoyed his time with the company for last year’s Harlequinade season, that he returned for an enriching and extended stay as a guest artist during our Melbourne and Sydney seasons of Don Quixote in the role of Basilio.

Another notable visitor earlier this year was Sylvie Guillem, who joined us as Guest Coach for Don Quixote. One of the greatest dancers of our time and a protégée of Rudolf Nureyev who made her the youngest ever Etoile at the Paris Opera Ballet, Sylvie shared her deep knowledge of Nureyev’s work and unique insight on artistic interpretation with our artists as they prepared to bring his choreographic version back to the stage.

Sylvie Guillem’s visit – her first official engagement since retiring from the stage at the stroke of midnight on 1 January 2016 – was generously supported by The Bowness Family Foundation.

Sylvie Guillem Photo Pierre Toussaint

A fond farewell to Adam Bull

After 22 years with the company, it’s the end of an era as Principal Artist Adam Bull prepares to take his final bow at the end of the Melbourne season of Identity in June, applauded by his friends, family and fans.

Adam began dancing at the age of seven at the encouragement of his primary school teacher before training at Dance World 301 and later joining The Australian Ballet School. He was chosen for the company by former Artistic Director David McAllister in 2001 and promoted to principal artist in 2008.

Since then, he has performed globally as a guest artist and counts the roles of Albrecht in Maina Gielgud’s Giselle, Prince Siegfried in Graeme Murphy’s Swan Lake, and des Grieux in Kenneth MacMillan’s Manon as some of his career highlights.

Reflecting on his time with The Australian Ballet, Adam says, “I’m so proud of the 22 years I have had with the company. With 16 of those years as principal artist, I have ticked off roles and aspirations that I only ever dreamed of when I was younger. Finishing with Alice Topp’s Paragon felt like the perfect way to tie up my career. A work encapsulating The Australian Ballet’s rich 60-year history and feeling incredibly content that I have contributed in a small way to the company’s enduring and ever evolving cultural legacy.”

Principal Artists Adam Bull and Amber Scott in Paragon

Photo Daniel Boud

“Adam has had a full and abundant career; the breadth of roles he has performed is an outstanding achievement. He is not only a talented dancer and exemplary principal artist, but also a mentor for many of the dancers. His dedication to fostering the talent at The Australian Ballet is another reason we will all miss his presence within the company.”

David Hallberg, Artistic Director

The Australian Ballet’s new Executive Director on the role that has brought her full circle

“David’s visionary leadership has led me here.”

A prominent, highly regarded and inspiring leader with more than 25 years’ experience in arts and cultural development, Lissa Twomey has carved out an enviable global career as an arts administrator, festival director and respected policy changemaker.

In January 2023, after successfully leading Bangarra Dance Theatre through the pandemic, Lissa succeeded Libby Christie as Executive Director of The Australian Ballet. It’s a role she has described as her dream job, and a role that has brought her back to one of her first loves: ballet.

We caught up with Lissa just a few months into her new appointment to reflect on her first 100 days at The Australian Ballet, the path she followed to get here, the highlights of her experience so far and the opportunities she sees for the company as she shapes and creates the next decade of extraordinary ballet with Artistic Director David Hallberg.

On following her passion

As a young child who spent her Saturdays dancing at a ballet school in Leeton, country New South Wales, Lissa didn’t envisage a future running Australia’s national ballet company. Nonetheless, as she recounts, her love of the arts was always calling. “I think I always knew I would work in this space. I felt it in my bones. When I finished school, I ignored the advice of my brother, who tried to convince me to become an engineer or go into law, and firmly pursued a career in the arts. I knew I needed to follow my passion and I’m so glad I did because what satisfies you makes you happier, and what makes you happier makes you work harder.

“Over time, I’ve followed an interesting and diverse pathway through a range of organisations: from working at an agency in London for artists, to my time in government creating policy to support the arts sector, via festivals and managing a company. What’s interesting is that now, if I stop to really reflect on my first months in this role, I can see that all paths have led me to this moment –to The Australian Ballet.”

On artistic ambition and leadership

Reflecting on what attracted her to the company, Lissa is unequivocal in her reasoning. “If I’m honest, David’s visionary leadership and exciting ambition drew me here. The quality of the work and the significance of the ballets that David is curating for the company’s repertoire is undeniable. By bringing in new works like Kunstkamer, but also paying homage to tradition and the history of the ballet with the likes of the reimagined Don Quixote and Swan Lake this year, a new benchmark is being set.

“I’m relishing the opportunity to work in partnership with David to support his ambition and the sustainability of the company, to ensure we have the means and the resources to be the best we possibly can be.”

On creating connections

Of course, it’s a daunting prospect to join any new organisation, but Lissa has already experienced the warmth and welcoming nature of The Australian Ballet family. “I’ve been made to feel incredibly welcome and already I feel completely at home and part of the family. What a pleasure it is to be surrounded by the beauty and artistry you see every day at the Ballet Centre, not to mention such a far-reaching community.

“I recently had the pleasure of seeing Ballet Under the Stars. It was my first Australian Ballet performance as Executive Director and what a treat it was! To see more than 7,000 people – many of whom don’t usually buy tickets to see us at Arts Centre Melbourne – come out despite the rain was absolutely thrilling and something I hope we can do more of.

“Witnessing so many children running around with their tutus, the dancers taking class on stage, and the queues for the dancers’ autographs was a delight. The diversity of work performed was such an inspiration for me too. There was something for everyone and it really got the crowd on their feet. This event was for the people of Melbourne and, for me, it really demonstrated the power of community connection.”

Lissa Twomey Photo Simon Eeles

On the path ahead

After the trials of the pandemic, Season 2023 has shown itself to be a jubilant period of celebration for the company’s 60th anniversary – a breath of fresh air before another time of change, as the redevelopment of the Melbourne Arts Precinct gets underway.

Lissa’s wisdom and expertise means she’s cautiously optimistic about what lies ahead. “With any challenge comes opportunity and, as we reflect on what the best pathway is for us as an organisation, I’ll be drawing on my life’s experiences to take us forward.

“Encouragingly, we’re entering a period where we have some opportunity for flexibility to work in different theatres, to talk to different audiences, to invite new voices into the landscape. We have the opportunity to meaningfully connect in a different way with communities across Australia as we tell contemporary stories to contemporary audiences, as well as the traditional stories that we all know and love. There’s lots to be excited about.”

“

This is probably the most ambitious year we’ve had, and it’s a privilege to be heading into it alongside such a revered leader. Lissa brings decades of industry-leading expertise and a true passion for dance, in its many forms. I’m excited to be embarking on the next decade of The Australian Ballet in partnership together.”

Artistic Director, David Hallberg

Lissa Twomey and David Hallberg

Photo Simon Eeles

Returning The Story of Pomi and Gobba to Wiradjuri Country

Connecting to Country

In the Winter 2022 issue of Talking Pointe, we shared with you one of the highlights of our Education and Outreach program: The Story of Pomi and Gobba.

Inspired by the Wiradjuri Dreamtime story Pomingalarna and Gobbagumbalun, this contemporary adaptation was created for our program by Wiradjuri choreographer Ella Havelka, a former dancer with The Australian Ballet, in partnership with Walbunga composer Tristan Field and Maiawali designer Lillian Hull.

Ella told us she aspired to return her adaptation of the story to Country as a further celebration of the cultural origin of this work, and as a legacy for future generations.

At the conclusion of last year – with the support of our philanthropic community, in particular the Graf Family Foundation – The Australian Ballet’s First Nations Cadets, Amy Weatherall and Troy Schrieber, travelled with our Education and Outreach team to Wagga Wagga to realise Ella’s commitment to return The Story of Pomi and Gobba to Wiradjuri Country.

Amy and Troy performed Pomi and Gobba for an audience of Elders and community members at the Wagga Wagga Art Gallery exhibition mayinyguwalgu ngunggirridyu, which means ‘I will share with other people’.

Speaking about the experience, Amy reflected, “One of the most valuable experiences of my cadetship was having the opportunity to perform Pomi and Gobba in Wagga Wagga and present it back to the Elders and community on Wiradjuri land where the story originates. It was an honour to share how the work had progressed and learn more about the origins of the story and the land it’s from.”

Since completing their cadetship, Troy has been welcomed by The Australian Ballet to its Education and Outreach team as a Dance Educator, involved with teaching and performing in school and community projects, and Amy has taken on a dance tutor role with Bangarra’s Rekindling Youth Program.

Troy Schrieber and Amy Weatherall

Weaving by The Hands on Weavers

Photo Tara Hodge

ALabour of Love

Spotlighting the stars behind the curtain

Behind the scenes of every production the dancers of The Australian Ballet perform, there’s another world of equally talented people with complementary areas of technical expertise and decades of experience, who are just as driven by the love of their craft and a passion for the art form.

In this special edition of Talking Pointe, we shine the spotlight on just some of the incredible individuals whom you may not see on stage, but whose dedication and talent shapes and co-creates the art we delight in seeing every time the curtain rises.

Jill Ogai

Photo Christopher Rodgers-Wilson

Dr Sue Mayes am

Role: Director of Artistic Health, Principal Physiotherapist and Adjunct Research Fellow at La Trobe University Company tenure: 26 years

Where are you based?

My primary residence is the Artistic Health hub at the Ballet Centre in Melbourne, but I travel with the dancers around Australia and internationally.

What does your job involve?

My day begins on my drive in, where I start to collect my thoughts and prepare for what’s ahead. As soon as I arrive at work, the Artistic Health team has a 15-minute meeting where we plan our day. We’re all super-busy for the one hour before class. It’s our time to check on injuries that the dancers might be carrying, or to assess or advise on little niggles – suggesting modifications for the dancers to take into class and rehearsals.

While everyone’s busy in class, we’ll work with the few injured dancers who can’t join class and catch up on our administration. I spend the rest of my day working handson with the dancers, helping to relieve fatigued muscles, mobilising stiff joints and designing exercise programs.

It’s really important that we don’t just concentrate on the dancers’ physical health; we also support with their mental health and wellbeing and set up additional support from our Performance and Lifestyle Advisor if required. We also meet weekly with the Artistic Director and Artistic team to discuss the status of injured dancers, so they can accommodate them in rehearsals and performances.

Apart from working directly with the dancers, I also lead our research partnership with La Trobe University and ensure we investigate clinically relevant issues that will improve our dancers’ health and wellbeing.

What do you enjoy most about the work you do?

Aside from working in a positive and supportive environment, I’m working with people who are incredibly motivated to do what they love, which is a real privilege. I enjoy the analytical process of diagnosis and then going through a rehabilitation process. I love seeing the dancers progress every week, and I enjoy making them feel supersupported. To then watch them do amazing things on stage is the icing on the cake.

What are you most proud of from your time working with the company?

When I started, the women were retiring at 30 and the men at 33, due to the physical impact of dancing. Now we have both men and women dancing into their 40s – and they are not retiring due to injury, which is phenomenal.

I have had the opportunity to travel around the globe, sharing our insights with other companies and schools, and the world now knows of the amazing care The Australian Ballet shows our dancers. Our dancers are confident that they have the best possible evidencebased practices to support them, so they can dance for as long as they wish. Through research and education, we help them to become masters of their own bodies.

Sue Mayes with Sara Andrlon Photo Christopher Rodgers-Wilson

Musette Molyneaux

Where are you based?

In the costume atelier at the Ballet Centre, but there’s a little to-ing and fro-ing between here and our Production Centre at Altona to look for costumes that we might want to use for events or displays, or to pull out old costumes to get inspiration when we’re building new ballets.

What does your job involve?

My role involves a lot of planning and logistics: making sure that the year is planned out in terms of looking at the ballets we’re putting on, how much work is going to be involved with creating the costumes for them, getting the right people on board to help us do the work, determining the costs associated, and calculating when we need to start working on those costumes so we’re ready for opening night.

What path did you take to do what you do?

I realised pretty early on that I wanted to work in costume. In Year 10, I took part in a drama workshop at school that was being run through NIDA [Australia’s National Institute of Dramatic Art], and I thought that it sounded right up my alley. I loved sewing, I loved ballet (although not performing!) and I loved the arts. It struck me that I could have a career that combined my three loves. I lived in the country at the time, so I started coming into the city to volunteer at different theatre organisations in the school holidays to get some experience and quite quickly realised that costume was for me. The rest is history …

What do you enjoy most about the work you do?

The team in the costume workshop might spend six months planning and working on a production, so it’s incredibly satisfying to see that production eventually come to life. Although we have a designer, you do put a lot of yourself into the costumes you’re creating and it’s really lovely to see people flourish when they infuse their talents and skills and creativity into their work. That’s when I know I’ve done my job properly.

Do you have a favourite memory of your time with the company?

I loved working on David McAllister’s The Sleeping Beauty with the costume designer Gabriela Tylesova. She was a designer who really encouraged you to contribute. I mean, she obviously had her vision, but she really loved for you to bring yourself into realising the costumes. It was a very collaborative process and very rewarding.

What might people be surprised to learn about the work you do?

I think people are surprised by just how thought out and planned everything is. When we make a new costume, it’s planned from the beginning with the foresight of how it’s going to be altered in ten years’ time, how it’s going to be cleaned, the strength of the fabric, what might deteriorate first … Every costume is made so that each component can be individually replaced without having to take the whole costume apart. We do our due diligence to ensure that each costume – as an asset of the company – will really stand the test of time.

Role: Head of Costume Workshop Company tenure: 12 years

Musette Molyneaux

Photo Arsineh Houspian

Bart Kendall

Role: Head of Staging Company tenure: 16 years

Where are you based?

Mainly out at the Production Centre in Altona, but I tend to follow the action – visiting workshops, meeting with designers, and following the sets on tour to oversee their installation.

What does your job involve?

I’m responsible for basically anything and everything to do with putting the show on. Take Don Quixote for example, because it’s what we call a ‘new build’, I worked with the designers, workshops, and technical team throughout the twelve months of the build process, making sure that each set element was ready and fitted into the trucks so that we could meet the production schedule and fit into the performance venues.

There’s no real hard and fast recipe to it, you just have to think about every possible outcome, plan for every unknown and be ready for some real-time creative problem-solving.

What path did you take to do what you do?

I was from rural New South Wales originally and, straight out of school, I moved to Sydney. Once in Sydney, I fluked it by landing a job at the Sydney Opera House, where I worked while studying live theatre entertainment.

Through those early years I gained a lot of exposure to Opera Australia, The Australian Ballet and all the major touring companies that came through the Opera House regularly. I realised that I had the right brain for theatre, so I jumped at the chance to work for The Australian Ballet when an offer came along, and have loved every minute of it.

What do you enjoy most about the work you do?

I enjoy the challenge of transforming a design from a designer’s imagination to real life. Turning it into something that you can touch, that tricks audiences into thinking they’re in a forest or a Spanish village or a Roman castle.

After working on a show for a few years – getting it from design all the way to stage – when the house lights go out and the curtain comes up on opening night, you get instant gratification from the audience’s applause, which is really rewarding.

What are you most proud of from your time working with the company?

One of the productions that really stands out to me is Christopher Wheeldon’s Alice’s Adventures in Wonderland©. It was so exciting, so different to anything else we were doing at the time, and working with Christopher Wheeldon and his artistic team was just amazing. It was an unforgettable time.

Do you have a favourite memory of your time with the company?

I think it would have to be finally seeing Anna Karenina staged after so many false starts due to COVID-19. To finally put it on after three solid years of trying was really emotional and rewarding. It was unreal and such a great show too. A real stand-out.

What might people be surprised to learn about the work you do?

Probably how many people it takes to put on a show. I often think, when I’m in the audience watching the company of dancers on stage during a performance, that there are probably just as many people backstage –if not more. It’s such a team effort, which I love.

Bart Kendall

Photo supplied by Bart Kendall

Alison Kidd

Role: Wig Supervisor

Company tenure: 21 years

Where are you based?

My workroom is based at the Production Centre in Altona, but I also tour with the company when we’re performing.

What does your job involve?

My trade is wig making. I am responsible for building our productions from the original designs, which also involves styling and fitting our wigs to the dancers’ measurements when we have casting. I’m fortunate to be involved in the final look when we rehearse our ballets in the theatre.

We usually start planning a production about 18 months before a show opens, discussing what might be required when designs are presented, working out budgets and liaising with creatives on their vision. Restoring an existing production might involve refurbishing wigs and hairpieces or deciding to make new ones, depending on time and budget.

Tech Week – the week before a production opens –is where it all comes together, and we see all the hard work finally on stage with the appropriate lighting. That’s when the final tweaks happen with my team, and we incorporate any final notes from Artistic staff. It’s the first time that everyone gets to see the wigs and make-up together with costumes in motion. It’s a challenging and busy time but rewarding when we get to opening night and celebrate.

What path did you take to do what you do?

I used to do ballet. Not professionally, but I was still dancing until I was 18 and while I was in my first year at make-up college. I kind of knew at the time I wanted to work behind the scenes in theatre.

At Three Arts make-up college in Sydney we studied hairwork and wig knotting. It was during this time I met the team in the wig department at Opera Australia.

I was offered a four-year apprenticeship in wig making, while also having the opportunity to work at the Sydney Opera House. I moved to Melbourne after working for the Opera and got my first job on the musical Beauty and the Beast, and eventually found my way to The Australian Ballet about 20 years ago.

I don’t think people realise the training that goes into being a wig supervisor, with all the different skills you need to do this role. I’ve worked very hard to get to this stage of my career, and I am grateful to have the opportunity to work closely with such talented artists both on and off stage.

What do you enjoy most about the work you do? Completing the journey from a design on paper to opening night, with smiles from everyone, hopefully! Our wig room is always full of dancers and staff leading up to a performance and it’s pretty entertaining, with lots of laughs.

What are you most proud of from your time working with the company?

The biggest production I’ve ever worked on is David McAllister’s The Sleeping Beauty. The designer Gabriela Tylesova really likes wigs, and I think we made around 100 wigs and hairpieces for that production, which was a huge accomplishment. Christopher Wheeldon’s Alice’s Adventures in Wonderland© would be a close second. Making wigs to look like rabbit ears was lots of fun!

What might people be surprised to learn about the work you do?

The majority of our wigs are made from human hair, which we source from hair merchants in Europe. When we need a wig to look more theatrical, as in The Sleeping Beauty, we use yak hair, which is great for amping up the volume in the dressing.

Alison Kidd

Photo Jake Terrey

Karen Trott

Role: Head of Scenic Art Company tenure: 40 years, in a range of contract and permanent roles

Where are you based?

You’ll find me at the Altona Production Centre but during Tech Week, I’ll be in the theatre as the sets are installed for the first time.

What does your job involve?

There are a couple of parts to my role. The first is texturing and painting the scenery and sets used in The Australian Ballet’s productions – preparing the surfaces and painting them. There’s a lot of pre-planning and preparatory work involved to understand what the designer needs and wants, and to create the outcome that will work for all.

The second is training up talented young scenic artists from the Victorian College of the Arts, who we hope will want to do my job when I no longer can. I’m getting older, you see, and there aren’t a lot of people in Victoria now who are doing this work. The Ballet work demands a very high standard of scenic painting, with knowledge of traditional methods and materials.

What path did you take to do what you do?

It started out with a bit of luck really because I met [set designer] Kristian Fredrikson and [stage and costume designer] Hugh Colman while I was at secondary school. I was struck by how fascinating they were and I loved the sound of everything they were doing, so I continued my study by doing a Fine Arts degree. When I finished the course, I decided I wanted to go into a bigger format and started trying to get into the industry.

It was different then. In the 1970s, many companies didn’t even have female toilets and couldn’t fathom me climbing a ladder, but persistence paid off. I started turning up at Melbourne Theatre Company every day and – finally –they offered me a job!

What does an ‘average’ day in your work life look like?

I’ve got to say, the beauty of this position is that every day is different and every production is completely different too, so you’re learning new things all the time. It’s a really physical job as well. You’re moving flats around that might be 80 kilos or more, and you’re standing – often at height – painting the scenery with brushes, so there’s not much sitting-down time during the day. We love our morning tea and lunch breaks, as it’s time to take a breath and relax for a brief moment.

What do you enjoy most about the work you do?

Other than the scenic paint, which of course I’ve used forever, the materials we’re using to create new textures and effects change all the time and that’s why I love it. There’s so much to learn still and I love the challenges that pop up, figuring out the best materials or fabrics and developing new techniques to respond to them. It keeps me feeling young and happy.

What are you most proud of from your time working with the company?

I’ve been really fortunate to be able to work with some of the best designers and it’s been such a privilege. Kristian Fredrikson and John Truscott were just beautiful designers and certainly brought the best out of me. Working with Richard Roberts on Don Quixote was sensational too. I was looking at the stage only the other day, and I’m really very proud of what we created together. Every windmill sail, every tapestry, every taverna wall has a story to tell.

What might people be surprised to learn about the work you do?

People might not know how much mathematics is involved in scenic art. Pythagoras is our friend! Most jobs start with a 1:25 scale model of the set. From there, you’re using a scale ruler to translate the design and create the full-scale work. You need to be very comfortable with a few basic principles.

Karen Trott Photo supplied by Karen Trott

The Lo-Down

Introducing our new Music Director, Jonathan Lo

His repertoire is extensive, his musical tastes eclectic and his energy effervescent: Jonathan Lo is one of the most sought-after ballet conductors in the world.

Hailing from Hong Kong and raised in England, Jonathan read music at the University of Oxford before winning a major scholarship to study conducting at the Royal Northern College of Music. He was appointed to his first music directorship at the age of 18, with the Oxford University Philharmonia, after winning the University’s conducting competition.

Jonathan’s star has continued to rise ever since. He has conducted orchestras across the UK and the world, collaborating with many of the world’s leading choreographers, and honed his talent for ballet conducting on the stage of London’s esteemed Royal Opera House,

where he made his Royal Ballet mainstage debut conducting Christopher Wheeldon’s Within the Golden Hour and Crystal Pite’s Flight Pattern

Commenting on Jonathan’s appointment, Artistic Director David Hallberg says, “It is undeniable that ballet and music are symbiotic: without music, ballet does not exist. The role of Music Director is integral to our success, and I am thrilled to welcome Jonathan to this vital position. Jonathan’s exceptional talent and enthusiasm for our art form will ensure the musicians in the pit and dancers on stage continue to deliver performances of the highest quality.”

We sat down with Jonathan to hear how his new role at The Australian Ballet is taking shape.

Jonathan Lo Photo Kate Longley

You’ve travelled extensively. How are you settling into Australian life so far?

We absolutely love it here. The company feels like home and Melbourne is a great place to be. It has everything to offer: beaches, vineyards, the city, and such a diverse range of people and cultures. We’re really enjoying familiarising ourselves with our new home.

That’s great! How have you been spending your time? Well, we’ve been playing tourist in a slightly different way because we’re looking for somewhere to live. So, we’re walking the streets looking for the vibe, for the people and for the feel of what’s right for us.

We’ve also been doing a fair amount of drinking and eating, which has been a real treat as everybody seems to take so much pride in what they do here – even the food is full of humility! That’s something that’s really stood out to us about Australian culture. Everybody takes so much pride in their craft – what they put into it, as well as the output – and The Australian Ballet is no exception.

How did it feel to lead the orchestra alongside the company for the first time in your new role?

It’s interesting you bring that up, because for Ballet Under the Stars we were on the stage at the same level as the company, as opposed to being in the pit. As a result, I felt like the entire orchestra was incredibly connected to everything that was happening on stage.

What was especially great about Ballet Under the Stars was that you could feel the sense of curiosity emanating from the audience, which led to a real, indepth captivation and cultural investment in the show, which is quite rare.

It’s funny, after the interval we played an excerpt from Arturo Marquez’s Danzon No. 2, which I chose because it starts quiet and gentle before building to an exciting climax and I knew it would entice audiences back for the second half of the show. Anyway, there’s a point in the middle of the piece when the energy builds before subsiding a little bit, and then there’s a moment of silence. At that point, I remember hearing how intently

the audience was listening. So, we just stretched out the silence by a fraction, because those moments of silence are really powerful. For me that was a perfect example of how captivated Australian audiences can be.

How has it felt to be stepping into Nicolette Fraillon’s shoes?

That’s a very interesting question. Of course, it’s a huge pair of shoes to fill. Not least because Nicolette is a legend of the ballet world and the Australian music scene, but because of all the incredible systems and strategies that she’s put in place for the company.

At the same time, she and I have developed a really wonderful friendship – a working relationship, but primarily a human connection. I was able to download her experience and to take on all the advice that she had to give before she moved on.

During that time, I came to truly understand the heritage Nicolette and the wonderful Music Directors who came before her dared to create over time. And now it’s my turn to be the custodian of that. I absolutely respect the legacy that I’ve inherited, and yet I am also here to respond to the challenges and to the changing landscape of not just the ballet world but society. What a privilege that is.

With that in mind, what are you most excited about responding to and tackling in the coming season and beyond?

Where to begin?! I’m really excited, firstly, by the repertoire in 2023. What a wide range of amazing ballets we have in store for us.

I’m also really looking forward to further building the relationship between music and dance. There’s a thrill in marrying the energy of the music with the energy of the dancers – it’s the wind beneath the dancers’ wings. So, one of my goals is to extend the dialogue between the orchestra and dancers, who are already so at one with each other, taking it further and finding greater synchronicity so that when we get onto the podium, into the pit, or on stage, the understanding is deeper and the performance is even more exciting.

Jonathan Lo on the music of Swan Lake

Swan Lake is a work that has always been a part of my life. It was the first ballet I conducted with Birmingham Royal Ballet, all those moons ago, and it has been a regular drum beat through my career ever since because of the many orchestras I’ve had the privilege to work with.

It isn’t a score I tire of though. In fact, what continues to delight me is the way that, even though everybody knows the tunes, and everybody knows the story, the score continues to evolve.

In some ways, it keeps evolving because I keep encountering it through the lens of different people, through the interpretation of different artists, and at different points of my career. So, in that sense, it’s also been a piece that has grown alongside me in my own journey of development.

What excites me so much about our 60th anniversary reimagining of Swan Lake is the prospect of being involved in what is such an important revival of a truly iconic work.

Working with David Hallberg and diving into the company’s archives to get to know Anne Woolliams’ production has been a bit like meeting her in her heyday. There’s been something so precious about unearthing and interacting with the history and heritage first-hand.

It’s been such an inspirational experience that has only been enhanced by the new elements that David is going to bring to the work, which will reinvigorate the original while simultaneously giving people the real sense of awe and inspiration that audiences, ballerinas and musicians have experienced over centuries.

Of course, we mustn’t forget about the music and how we as the musicians are going to put our own modern take and our own interpretation on Tchaikovsky’s score, which has been played thousands of times but will now be played by this current generation of musicians and brought to life through the context of modern musical skills.

This Swan Lake isn’t just tutus and it’s not just classical ballet. It’s about the interaction between the modern and the past, and the interaction between art forms to create the best possible performance for everybody to experience.

We would like to celebrate and acknowledge the hundreds of passionate ballet lovers across Australia whose generosity has made this production of Swan Lake possible.

Lead and Production Partner Leadership Gifts

Jonathan Lo Photo Christopher Rodgers-Wilson

Reimagining the classics

Bringing new life to fabulous favourites

In 2023, for the first time in the company’s history and to coincide with our 60th year, The Australian Ballet’s special anniversary season features three full-length ballets that are fully funded by our community of supporters.

Two of these philanthropy-enabled productions, Don Quixote and Jewels, have delighted audiences during the first half of this diamond anniversary year. Both works have carved memorable milestones in the company’s history and acted as tangible reminders of

the meaningful impact our community is having on the quality of art we’re seeing on stage.

In celebration of the artistic legacy to which the company pays tribute in both seasons, it’s with great pleasure that we raise the curtain to reveal a little of the work that goes on behind the scenes when the company is entrusted with the responsibility of reinvigorating a timeless classic for a new era of artistry.

For 60 years, our supporters have given the gift of exceptional ballet to audiences across Australia. We would like to celebrate and acknowledge the people in our philanthropic community who have made these productions possible.

Artists of The Australian Ballet Photo Rainee Lantry

Photos Edita Knowler

As the curtain rose on the opening night of Melbourne’s Don Quixote season, introducing a ballet that runs over a prologue and three acts, you couldn’t miss the gasps of wonder from the audience as the sets were revealed for the first time.

Fifty years after the release of Rudolf Nureyev and Sir Robert Helpmann’s genre-defining film, and two years after conversations began with Barry Kay’s estate about the creation of a production to his original designs, Don Quixote had put The Australian Ballet on the map once again.

Getting to this point was no mean feat. Enabled by the generous contributors of The David Hallberg Fund, with additional support from The Barry Kay Fund, a widereaching and highly skilled creative team worked with set designer Richard Roberts, trawling Kay’s original designs and revisiting archival footage as well as the original film set to create the extraordinary designs audiences saw on stage.

Reflecting on one of the largest obstacles faced when reimagining the set, Head of Staging Bart Kendall says, “The fact that the original design was a film set that was constructed inside an aircraft hangar without stage restrictions presented some real challenges for Richard and our team. Richard did a fantastic job of recreating the scale and impact of the film set in a way that we could then break down into containers and build in-venue in a couple of days – not the months they took in the 1970s.”

Echoing Bart’s sentiment, Head of Costume Workshop

Musette Molyneaux shared some of the approaches her team took when painstakingly restoring the costumes from the Don Quixote movie. “It’s a production that has been performed for many decades, and over that

time the way costumes are used changes and morphs. Thankfully, we had the documentation from when the production was first staged and some of the original costumes in storage. But, as some of the costumes have since been altered, we spent a lot of time watching the movie over and over – freeze-framing it to take screenshots and work out exactly how each costume needed to be restored based on the original footage.

“We also found an archive at the National Gallery of Australia and got permission to view it, which allowed us to Pantone-match the colours, take measurements and photograph the costumes inside and out so we could recreate them as closely as possible. For example, when we discovered the original fabric samples from the Fandango gentlemen’s costumes, we realised that the colour was initially a deep bottle green that, over time, had faded to a mid-grey,” Musette revealed.

Fortunately, with a combination of digital printing, colourmatching and hand-painting techniques, the team were able to bring the colour back into the costumes and, more broadly, the production.

The reimagination of Don Quixote for the company’s 60th anniversary was an undertaking of epic proportions, and one those involved feel immensely proud of. Reflecting on the experience of seeing the work finally come to life, Bart says, “It was incredible – unreal. I think the set is probably one of the best we have, and that’s saying something!”

Production Partner

JEWELS

George Balanchine’s masterpiece, Jewels, is one of the highlights of Season 2023. An Australian premiere made possible by the generosity of the contributors to The David Hallberg Fund, the three-part ballet celebrates Balanchine’s vision of three jewels: Emeralds, Rubies and Diamonds

Visually and thematically structured around the motifs of each precious stone, each of the three acts is distinct in style and mood as it explores through movement, the colour and qualities of the three jewels.

Central to the spectacle – and working in perfect concert with Balanchine’s choreography and Peter Harvey’s set designs – are the costumes for each jewel, originally created by Balanchine’s legendary collaborator Barbara Karinska. The dedicated team of The Australian Ballet’s Costume Workshop have been lovingly recreating Karinska’s opulent designs with meticulous care and craftsmanship to showcase the classical precision of the company’s talented artists.

Speaking of the creative endeavour, Musette Molyneaux shares some of the measures her team took to ensure costumes were recreated with absolute accuracy and sensitivity. “Because the work is so well-known, because the Karinska designs are of such historical significance and because of the many deeply respected parameters involved when staging a Balanchine work, Jewels has involved a significant amount of research.

“To stay as true to the original Karinska production as possible, we enlisted the support of a design consultant in the United States who spent time at New York City Ballet

pulling costumes and photographing them for us, so we could accurately recreate the exact details and colours in our workshops in Melbourne and New York.

“We also found a superb archive of images at a New York library from a photographer who had captured multiple New York City Ballet seasons, including many Jewels productions. It was fascinating to see the additional details in the photos that had been lost over time due to costume repairs and revisions. Because we found those photographs, we’ve been able to recreate versions that are even closer to Karinska’s original designs.”

The recreation of the sumptuous costumes has been a real team effort, spanning international time zones and involving many hands – some of which belonged to volunteers from The Australian Ballet’s community of supporters. With more than 18,000 jewels to sew onto the costumes, the company benefited from hours of sewing expertise donated by the Country Women’s Association and The Embroiderers Guild, who spent six months sewing the thousands of jewels onto fabric which was then placed onto the costumes.

“The support of these individuals has been invaluable,” explains Musette. “It’s been a community enterprise and the costumes will shine all the brighter because of their commitment.”

Production Partner

George BALANCHINE’S

Meet Amy

Ronnfeldt Talking Pointe

Get to know the newest member of the corps de ballet

Amid the spectacular sights of Season 2023, your eyes might be drawn to a new face in our corps de ballet.

Amy Ronnfeldt – a talented graduate of The Australian Ballet School and one of only seven prize winners at the 2022 Prix de Lausanne – recently became the newest member of the company after impressing audiences with her performances in Swan Lake Variations on our 2022 Regional Tour and in The Australian Ballet School’s Butterfly Amy grew up in Brisbane, Queensland and began dancing at the age of four at the Kimberley Woodger Dance Academy. Aged 14, she joined The Australian Ballet School, where she was a recipient of The Australian Ballet School Scholarship and was Dux of her class when she graduated in 2022.

We caught up with Amy to get to know her a little better as she embarks on her first professional role with The Australian Ballet.

How were you introduced to ballet?

Like a lot of young children, I was signed up to join ballet classes by my parents as a way to release energy and as a fun hobby. My mum grew up going to the ballet with her family, so the performing arts world was not new to her.

What does it mean to you to be dancing professionally with The Australian Ballet?

It has always been my dream, so it feels completely surreal. Walking into those beautiful studios, working alongside these incredible dancers that I look up to and being coached by such an experienced artistic team will never lose its excitement and magic.

Who are your role models and why?

One of my main role models is Marianela Núñez, principal dancer with The Royal Ballet. I admire her graciousness and continued passion for the art form. Every time I watch a video of her dance, she adds something new, which produces a really genuine, playful and exciting quality of movement. She also has a very contagious portrayal of emotion, causing the audience to smile, laugh and cry with her. That’s what I aim to achieve one day in my dancing.

From where do you draw inspiration?

All the artists of The Australian Ballet inspire me daily with their creativity, authenticity, commitment and passion. I definitely feel blessed to be surrounded by a group of

people who are as kind as they are talented. I also draw inspiration from other forms of art and entertainment I enjoy, such as film, music and literature.

What has been the highlight of your first months in the company?

Getting to perform in Ballet Under the Stars at the Sidney Myer Music Bowl was such a fun experience. It was my official debut with the company as well as my first time performing at an outdoor theatre, which came with a whole new set of excitements and challenges. It was raining that night, but we were all so grateful that so many people still showed up with ponchos and umbrellas, keen to see us perform regardless of the weather. Dancing in that unique atmosphere was so special.

What are you most looking forward to in the 2023 season?

I am most looking forward to performing in Swan Lake, as it is the first ballet I can remember watching and the first one that truly made me fall in love with the beauty of classical ballet. I am especially looking forward to taking that iconic production to Brisbane, which is where I grew up with my family.

What is your dream role or repertoire to perform, and why?

To dance the role of Giselle would be a dream come true. This role means so much to me, as her Act I variation was the first professional variation I learnt for the Alana Haines Australasian Awards in 2017. Dancing that was the first time I really let go onstage and felt like a true ballerina.

When you’re not dancing, what do you love to do?

I love to spend time with my dear friends, chatting over some delicious food at a new café. Recently, I have also been dabbling in some guitar and crocheting.

What are your big dreams and ambitions?

I would love to travel this beautiful Australian land of ours as much as possible, before hopefully one day exploring countries overseas. And I’d like to delve deeper into photography, writing, cooking or teaching later on in life.

What might we be surprised to learn about you?

Throughout my childhood I was privileged to spend some time out in the countryside, as my grandparents own a farm on the Darling Downs. It was there that I was exposed to the ways of cattle work and farming, which I still find so fascinating in contrast to the world of ballet in the heart of Melbourne.

Amy Ronnfeldt Photo Daniel Boud

Building The Ballet

1960s

1962: The Australian Ballet is established as Australia’s first permanent national ballet company, with Peggy van Praagh appointed as founding Artistic Director.

No sooner had our founding members gathered for the first time in 1962 as The Australian Ballet was born, than the seeds of philanthropy were sown.

“Ripples of excitement were felt through the community and, before long, people were donating whatever they could – pounds, shillings and pence, in the earliest days – to be associated with Australia’s first permanent national ballet company,” explains Philanthropy Director Kenneth Watkins.

“In time, and underpinned by a succession of strong leaders and responsible Boards and Chairs, philanthropy has grown to be the company’s second-largest revenue stream and laid down a solid foundation that allows us to be bold, be brave and always go that extra mile.”

Here, we look at the role philanthropy has played throughout the history of The Australian Ballet, the moments and milestones made possible by generations of giving, and the impact our community has had on the company we know and love today.

1964: The Australian Ballet School opens its doors to students, with Margaret Scott as founding Director of the school.

1966: The Australian Ballet Society, Victoria (known today as The Ballet Society, VIC) is founded and commences support of both organisations.

Artistic Director Dame Peggy van Praagh East Melbourne studios 1962.

Photo Keith Byron

How generations of ballet lovers have paved the way for the future, one gift at a time.

1970s

1973: The Australian Ballet Friends, New South Wales (now known as The Ballet Society, NSW) is founded and starts fundraising for The Australian Ballet and The Australian Ballet School.

1973: Rudolph Nureyev and Robert Helpmann’s movie of Don Quixote, enabled  by The Australian Ballet’s community, is filmed in an aircraft hangar outside of Melbourne.

1978: With proceeds of the company’s 1977 international tour, The Australian Ballet purchases land in Southbank, Melbourne to build a new home for the company.

1980s

1981: The Dancers Strike takes place, placing the future of the company at risk.

1987: The Silver Jubilee capital campaign begins to raise funds to build a new six-storey purpose-built ballet centre in Southbank.

1988: James and Diana Ramsay make a gift to support the company’s Silver Jubilee tour to London. On the tour, The Australian Ballet hosts a fundraising gala at the Royal Opera House in the presence of Her Majesty Queen Elizabeth II.

1988: The Australian Ballet moves to The Australian Ballet Centre, its new purpose-built home in Southbank.

1989: The Australian Ballet Club starts, with Lady Potter as President.

Rudolf Nureyev in filming rehearsals for Don Quixote 1972.

Photo Paul Cox

London 1988, Photo Desmond O’Neilll

1990s

1990: The Planned Giving program is established to build a stable foundation for the company via gifts in wills.

1992: The Australian Ballet Friends, South Australia (now known as The Ballet Society, SA) is founded and begins fundraising for The Australian Ballet and The Australian Ballet School.

1994: The Australian Ballet’s Annual Giving program emerges from The Australian Ballet Club.

1997: The company receives its first major estate from Planned Giving.

1999: The Australian Ballet receives its first major gift of $500,000 from Robert and Elizabeth Albert to establish The Robert and Elizabeth Albert Music Fund.

2000s

2004: Robert and Elizabeth Albert make a second $500,000 contribution to the company towards The Robert and Elizabeth Albert Music Fund.

2005: The company receives its first $1 million gift from Kenneth Reed for an endowment to support the creation of new ballets.

2005: The International Touring Fund is established by Frances Gerard with a $1 million pledge after she experiences the opening night of Graeme Murphy’s Swan Lake at the London Coliseum.

2008: Dancer-endowed positions commence: ballet lovers are invited to provide valuable support that will sustain a principal dancer’s position in perpetuity.

UK Tour 2005 London Coliseum Swan Lake

Photo Julian Kingma

2010s

2010: A capital campaign gets underway, raising funds to maintain and upgrade The Australian Ballet Centre, build a new production centre and support the strategic priorities of the company. Donations and bequest notifications total $54 million, including a transformative gift of $8 million from The Ian Potter Foundation –the largest in the company’s history. The Primrose Potter Australian Ballet Centre is named in honour of Lady Potter’s long involvement with the company.

2011: The Foundation Board is formed to expand and enrich the support network around the company.

2011: The Australian Ballet’s Production Centre is opened, supported by philanthropy.

2014: A fundraising campaign raises $1.7 million for David McAllister’s new production of The Sleeping Beauty.

2015: A fundraising campaign raises $1 million to create Storytime Ballet – annual seasons for young children.

2015: The Ballet Ambassador program is established by Sarah Murdoch to welcome the next generation of philanthropists into the company.

2016: Philanthropy enables the Raise the Roof campaign to raise funds for the redevelopment of The Primrose Potter Australian Ballet Centre.

2016: The Regional Touring Fund is created to make Australia’s national ballet company accessible to all by spreading the joy of dance across the nation, on and off the stage.

2017: A fundraising campaign raises $1.4 million for Lucas Jervies’ new production of Spartacus.

2020s

2020: Live performance is interrupted for two years, due to the global COVID-19 pandemic. Thousands of devoted audience members generously donate the value of their tickets to cancelled performances in 2020 and 2021, to help sustain the company.

2021: The Global Ambassador Network is established to provide support for the company’s activities outside of Australia.

2021: The David Hallberg Fund is endowed by Lady Potter and a small group of patrons to empower The Australian Ballet’s eighth Artistic Director to realise his vision for the company, without compromise. Don Quixote and Jewels (both presented in Season 2023) are made possible by the fund.

2021: Kunstkamer, one of the most ambitious contemporary dance productions ever to appear as part of the company’s repertoire, is enabled by the generosity of patrons.

2021: A fundraising campaign for David Hallberg’s 60th anniversary reimagining of Swan Lake generates a wave of support from nearly 1,000 members of the community, who fully fund the production.

2022: The Australian Ballet Society, VIC and The Australian Ballet Friends, NSW and SA adopt the umbrella term of The Ballet Society.

2023: The Australian Ballet celebrates its 60th anniversary with a season featuring three full-length ballets funded by philanthropy.

Principal Artist Robyn Hendricks and Kevin Jackson in Spartacus

Photo Kate Longley

Principal Artsists Ako Kondo and Chengwu Guo in Don Quixote Photo Rainee Lantry

Stories from the heart

A lifetime of love shared by members of our community

In this landmark year, we wanted to give a voice to the community who have wrapped their arms around The Australian Ballet and made incredible things happen throughout the company’s history.

Natasha Bowness, President of Annual Giving and herself a lifelong supporter of the company, had the pleasure of speaking with some of the generous individuals in our giving community. Here they discuss their relationship with The Australian Ballet and what has inspired them to support us as they do.

“Through this process, I’ve had the honour of connecting with people of all ages and what has struck me the most is the commonality of themes and stories that transcend generations. It’s been deeply touching to hear the stories of discovery, the long-held memories, and the joy ballet has brought to so many lives. Transformational experiences, family traditions, a deep admiration for the talent and dedication of the dancers, and a sense of childlike wonder consistently came up.

“I will treasure these conversations. They reinforced the power of the art form and the strength of the relationship between community and company. The importance of philanthropy in terms of enabling the company to flourish and for realising David Hallberg’s vision cannot be overstated and, for that, I thank everyone who has played a part in The Australian Ballet’s story so far.”

Principal Artist Amber Scott and Kevin Jackson in Nijinsky

Photo Kate Longley

Natasha Bowness

Photo Pierre Toussaint

Geraldine Fox-Penglis, SA

From the moment Geraldine Fox-Penglis’ grandmother took her to see the ballet in Adelaide in 1946, she adored it. “It just transported me into another world and if anybody tried to talk to me after a performance, they would get absolutely nothing out of me because I was still off in my own little world thinking about what I had just seen,” she explains. Ballet is a passion that has continued to be a part of her life, and Geraldine has been going to The Australian Ballet ever since its inception. She cites a performance of Nijinsky as one of the most moving productions she has seen. “I can remember sitting there as the curtain came down, the audience applauding, feeling absolutely drained. Emotionally exhausted. What a testament to the art form that is, that it can have that effect on you.” Geraldine used to share her passion with her late husband, George, and now enjoys taking her cousin to select events and performances. Unfortunately, as life has moved on, she hasn’t been able travel to see The Australian Ballet perform as much as she would like, but Geraldine’s love of ballet has inspired her to support the company in other ways. “I love the idea of being able to give the Ballet some money now while I’m still around and able to see the impact my commitment is having and the joy the company is bringing others.”

Veronica Corrigan, VIC

Veronica Corrigan, the youngest of three siblings, was introduced to ballet by her mum, who regularly attended performances with her sister-in-law and wanted to pass the joy of ballet on to her daughter. “Growing up, ballet was an intergenerational passion in my family and there was such a sense of majesty associated with the occasion,” recalls Veronica. “It was like entering a fairytale world, where Cinderella was a real person. To this day, I love the two hours I get to spend completely removed from my world and immersed in the one the dancers are creating on stage.” A subscriber since her university days and, more recently, a philanthropic supporter, Veronica has found a sense of community through her involvement with the company. “Being engaged with The Australian Ballet isn’t just about the performances, it’s about the access you get to life behind the scenes and the friends you make along the way,” she explains. “I was raised to be community-minded and now I like to contribute to this area of life that I’m passionate about. I’m very impassioned by people who are dedicated to achieving excellence over a long time, and that’s what The Australian Ballet dancers do. They deserve to be celebrated and I feel privileged to be able to do that.” Today, Veronica attends the ballet with her husband or girlfriends she’s known since school, but she looks forward to continuing the family tradition by one day sharing the art form with her baby son, Ned.

Gena Culley, WA

“I just love movement to music,” says Gena Culley, who has always loved ballet and enjoyed both dancing and going to the theatre to see performances with her mother when she was a child. She fondly recalls waiting at the stage door to collect autographs from members of West Australian Ballet and other visiting companies, noting Garth Welch and Marilyn Jones’ signatures as two of the most prized in her collection. Gena’s affection for ballet has taken her far and wide – travelling within Australia, as well as internationally with her sister, to see the artists and art form she holds in such high regard. “I am in absolute awe of the dancers. Their commitment to the craft and their devotion to the art is incredible,” she says, “and to see the different dancers progress through the company brings me great joy.” This enduring admiration has inspired Gena to support a number of The Australian Ballet’s productions, most recently David Hallberg’s 60th anniversary reimagining of Swan Lake. Gena looks forward to visiting Melbourne in September for the first season of Swan Lake and hopes to continue the family tradition by sharing the experience with her granddaughter.

Ken Mitchell, QLD

Ken Mitchell has a long-standing interest in the theatre. His relationship with ballet began a little later in life, when he was invited to attend a performance of Giselle by a friend he shared the stage with at the Queensland Light Opera Company. He was initially unconvinced, but his interest was piqued when another member of the Queensland Light Opera encouraged him to see The Australian Ballet perform Don Quixote. From that point on, Ken was a regular attendee – first bringing his sister to Brisbane performances and, in time, travelling further afield to Sydney to see his favourite repertoire. Speaking about what drew him to ballet, Ken recollects, “I think it was the joie de vivre of the people on stage. They were so committed and dedicated, and clearly enjoying themselves. As a result, so did I. You have to support the things that bring you joy.”

Kirsty Martin in Don Quixote, Brisbane 2007 Photo David Kelly

Ruth Zionzee, NSW

A lifelong ballet lover, Ruth Zionzee vividly remembers the “electrifying experience” of going to see the Borovansky Ballet perform Terra Australis with her mother in 1946. “I followed it from that point on,” Ruth recalls. “Their bodies conveyed their inner hearts and souls. I was hooked.” From that moment Ruth has consistently attended the ballet at every opportunity – subscribing in her favourite seats, supporting the company philanthropically and immersing herself within the community. “I’m part of a family within The Australian Ballet. I’ve made many friends coming to the ballet, and I always look forward to sharing in the brilliance of the dancers’ skills with those like-minded people.” Interestingly, Ruth didn’t dance as an adolescent – although she did dabble in Giselle when she took a couple of seniors classes at the Sydney Opera House before the pandemic – but her career as a nurse has helped to inform her specific area of interest: the dancers’ feet. “I watch their beautiful feet and, thanks to my time in nursing, I understand that without the shoes they wouldn’t be able to accomplish what they do, so I request that my commitment to the company goes towards their pointe shoes. Feet are important and never more so than when you’re dancing with such athleticism.”

Lyne Sedgman OAM, VIC

Lyne Sedgman has been a dedicated supporter of The Australian Ballet for more than 40 years. After being drawn to the company by her interest in the arts, Lyne has fond memories of attending the ballet at the Palais Theatre and, later, Arts Centre Melbourne - going up to three times a season to enjoy the productions and show her support for different dancers in the rotating casts. Lyne credits her late mother as one of her favourite guests and a motivation to support the company. “I introduced my mother to the world of ballet when she fell out of love with football,” Lyne recounts. “She became entranced and loved attending with me. So much so that, after she passed away, I kept her seat for a couple of years and, for a while, I brought her pearls along in my evening bag so that she could still share the experience with me. In time, I made a donation in her memory, and I often think how much she would have enjoyed that – she always liked looking at the back of the program to see who was supporting the company.” Over time, Lyne has developed a passion for supporting the future stars of the company through their training at The Australian Ballet School. One of those dancers was Callum Linnane, and she credits his promotion to Principal Artist as one of the highlights of recent years. “It’s such a joy to see these talented young dancers develop over the years and to be able to play a part in helping them to thrive and flourish, and ultimately realise their dreams.”

Stephanie Shwabsky, NSW

It was Stephanie Shwabsky’s mother who first introduced her to ballet as a little girl. Their trips to the theatre to see visiting companies perform became a tradition so special that Stephanie has paid tribute to her mother in The Australian Ballet’s souvenir programs in recognition of her love of the arts. One of Stephanie’s core memories of going to the ballet is seeing Sir Robert Helpmann’s The Display. “One of many excellent performances I’ve seen by The Australian Ballet”, she recalls. She also vividly remembers Kelvin Coe, “a truly elegant principal dancer” and counts Steven Heathcote’s performance as the Beloved Officer in Nutcracker – The Story of Clara as one of her favourites. Ballet has continued to play a starring role throughout Stephanie’s life. She has travelled extensively to see her favourite artists dance: watching Rudolf Nureyev and Margot Fonteyn perform in London was, she says, “one of the most rewarding nights of my life.” Stephanie’s adoration for the art form and its artists has compelled her to support the company philanthropically, too, “because I so admire the dancers for their devotion to their extraordinarily demanding career, and because I continue to get so much out of the wonderful, transporting art.”

Vikki Attard and Steven Heathcote AM in Nutcracker – The Story of Clara Photographer unknown

On Saturday 25 February, thousands of ballet lovers braved the elements and flocked to the Sidney Myer Music Bowl as The Australian Ballet and Orchestra Victoria returned to Melbourne’s iconic outdoor venue for the first time in nine years with a family-friendly gala.

Ballet Under the Stars thrilled ballet-goers of all ages with an exciting program that paid tribute to both the remarkable scope of the art form and the history of the company, set against the striking backdrop of Melbourne’s city skyline.

The evening of entertainment was proudly presented by The Australian Ballet’s Principal Partner of 39 years, Telstra. Speaking of their involvement with the event, Telstra’s Head of Sponsorship, Genelle Sharples, says, “It’s always been important to Telstra that we give as

A celestial celebration for our community

many Australians as possible the chance to experience extraordinary ballet. Ballet Under the Stars was a wonderful way for families to see the extraordinary dance and choreographic talent that we have in this country – for free. We were delighted to see so many avid ballet fans alongside us at the Bowl to help celebrate 60 years of The Australian Ballet.”

We’d also like to thank our supporting partners, the DECJUBA Foundation and Arts Centre Melbourne, for their support in bringing Ballet Under the Stars back to the Melbourne community.

Ballet Family events

qualia

30 October – 1 November 2022

Hamilton Island

Every two years, the luxury resort qualia gives special guests the opportunity to have an extraordinary experience of The Australian Ballet at Pas de Deux in Paradise – a unique and intimate two-day showcase against one of Australia’s most idyllic backdrops, the Whitsundays and the Coral Sea.

As the sun set on paradise, guests were delighted by breathtaking performances from Principal Artists Adam Bull and Amy Harris, Coryphée Aya Watanabe and Corps de Ballet dancer Cameron Holmes. Guests were also treated to some exclusive behind-the-scenes experiences, including an audience with David Hallberg, who shared insights from his time with the company, as well as the opportunity to watch and participate in a barre class.

1. Photo Oliver Rose

2. Amy Harris and Adam Bull. Photo Justin Ridler

3. Adam Bull. Photo Justin Ridler

4. Cameron Holmes and Aya Watanabe. Photo Justin Ridler

5. Amy Harris and Adam Bull. Photo Justin Ridler

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Ballet Ambassador Storytime Ballet Event

22 December 2022

Yallamundi Rooms, Sydney Opera House

Storytime Ballet was created as a festive introductory season of ballet for children aged three years and up. In December, the Northern Chapter of the Ballet Ambassador Program held a magical pre-performance high tea at the Sydney Opera House for their members and the special young people in their lives.

The event included a story reading, gift bags and photo opportunities with performers. Guests then entered the Drama Theatre to watch a spellbinding hour-long interactive performance of The Sleeping Beauty

Photos Maya Vidulich

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1. The Storytime Ballet event committee: (L-R) David Wynne, Felicia Palanca, Juliet Anderson, Sarah Vick, Leah Bischoff (Chair), Alisa St. John, Belinda Eykman

2. Sophie Wormald as the Fairy of Joy

A Farewell to Libby Christie AM

December 2022

The Primrose Potter Australian Ballet Centre and Sydney Opera House

In December we celebrated and farewelled outgoing Executive Director Libby Christie, who spent nearly a decade at the helm of The Australian Ballet. Supporters, colleagues, friends and family came together in both Melbourne and Sydney to salute Libby’s contribution to The Australian Ballet and the enduring legacy she will leave behind.

1. (L-R) Dr Greta Archbold, Gail Marshall OAM, Piroozi Desai, Elisabeth Pidd

2. Libby Christie AM and Kenneth Watkins AM

3. Libby Christie AM

4. (L-R) Natasha Bowness and Libby Christie AM

5. (L-R) Libby Christie AM, Director Catherine Livingstone AO and Chair Craig Dunn

6. (L-R) (L-R) Heather McNicol, Ross Fairhurst, Joey Gamble, Dianne Hill, and Richard Phoon. Photos Katie Fraser

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THE PHILANTHROPY TEAM

If you have any questions about how your generosity is supporting The Australian Ballet of today and tomorrow, please get in touch.

Kenneth Watkins am Philanthropy Director 03 9669 2780 kennethw@australianballet.com.au

Louise Topple

Executive Assistant to Philanthropy Director & Special Events Coordinator 03 9669 2732 louiset@australianballet.com.au

Adam Santilli

Head of Philanthropy & Patrons Manager – SA 03 9669 2784 adams@australianballet.com.au

Sharyn Gilham

Philanthropy Manager Foundation Board & Special Projects 03 9669 2785 sharyng@australianballet.com.au

Andrew Wright

Philanthropy Manager – VIC, TAS & WA 03 9669 2735 andreww@australianballet.com.au

Jane Harris

Planned Giving Manager – VIC, TAS, SA & WA 03 9669 2782 janeh@australianballet.com.au

Amelia Jones

Philanthropy Manager – NSW, ACT & QLD 02 9253 5317 ameliaj@australianballet.com.au

PHILANTHROPY EVENTS

Supporters and patrons are invited to attend a range of special events each season. If you would like to find out more, please contact us.

Event Enquiries

1300 752 900 philanthrophyevents@australianballet.com.au

Sonia Brennan Planned Giving Manager – NSW, ACT & QLD 02 9253 5316 soniab@australianballet.com.au

Elle Cahill Patrons Manager 02 9253 5309 ellec@australianballet.com.au

David Wynne Ballet Ambassador Program 02 9253 5311 davidw@australianballet.com.au

Kelly Winter-Irving Senior Philanthropy Coordinator 02 9253 5312 kellyw@australianballet.com.au

Kasey Lack Philanthropy Services Coordinator - VIC kaseyl@australianballet.com.au

Katie Fraser Philanthropy Services Coordinator - NSW katief@australianballet.com.au

General Enquiries 1300 752 900 philanthropyservices@australianballet.com.au

Talking Pointe edited by Hannah Cheale

Graphic Design

Edita Knowler

Talking Pointe is made from 30% recycled materials from sustainably managed sources.

Back Cover: Principal Artists Joseph Caley and Benedicte Bemet

Photo Christopher Rodgers-Wilson