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.

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.”

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

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.”

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.”