Queensland Ballet - Pas Magazine Issue #8 by Queensland Ballet

ARTISTRY ISSUE #8

DEC 2021

WELCOME

Contributors Editor Cassandra Houghton Words Cassandra Houghton, Ellen Gilroy, Chelsea Clark, Meryn Cooper Art Direction & Design David Byrne, Niqui Toldi / Bigfish Queensland Ballet Artistic Director Li Cunxin AO Executive Director Dilshani Weerasinghe Deputy Executive Director Felicity Mandile

Welcome to the eighth edition of Pas. magazine.

Contact Queensland Ballet (07) 3013 6666 mail@queenslandballet.com.au Beesley St Studios 34 Beesley St, West End, QLD 4101 From 2022 — Thomas Dixon Centre, 406 Montague Rd, West End, QLD 4101

QUEENSLAND BALLET

Queensland Ballet Academy 101 L’Estrange Terrace, Kelvin Grove, QLD 4059

Every effort has been made to ensure that all information was correct at the time of printing, however, details are subject to change where necessary and without notice. Please check queenslandballet.com.au for updates.

Cover Principal Artist Joel Woellner by David Kelly

/pa/ A step or series of steps in ballet.

IN THIS ISSUE 4

INTERVIEW

EXPLORE

Dream Chasing with Lucy Green —

The Balance of Ballet Casting with Luke Dimattina and Bella Swietlicki —

GALLERY

ENGAGE

Bespoke 2021 Jack Lister’s Mind your Head —

QB Lands on the GC Spreading the magic —

IN-DEPTH

ACADEMY

Art meets Dance The story of Summer Soirée —

Sir Kenneth MacMillan The man behind the masterpieces —

EXPLORE

GALLERY

Best Ballet Scores of All Time with Nigel Gaynor —

Throwback The Nutcracker —

— December is Nutcracker season at Queensland Ballet, and it’s always a delight to walk through the halls and see those festive costumes out of storage once again. The music filtering out of the studios as all the characters begin to rehearse — Clara, Sugar Plum Fairy, the Nutcracker Prince and so many more — reminds me that it’s Christmas time, and that we’re onto our ninth season in a row: can you believe it? Meanwhile, all of us here are looking forward to the holiday break and time spent with family and friends, before gearing up for a sublime 2022 Season. You have probably heard the news that I’ll be returning to the stage next year for a character role, along with my wife Mary, in Sir Kenneth MacMillan’s blockbuster ballet Manon…I almost feel like I should begin rehearsing now! Along with our partnership with HOTA on the Gold Coast and the announcement of plans for our Production Centre at Yatala, the entire QB team is excitedly anticipating a move back to our beloved Thomas Dixon Centre. We look forward to inviting you to a season in our new theatre there in 2022. From everyone at Queensland Ballet, thank you for your support during 2021, enjoy this festive season, and we’ll see you next year.

Li Cunxin AO Artistic Director

Acknowledgement of Country Queensland Ballet acknowledges the traditional custodians of the land on which we work and perform. Long before we performed on this land, it played host to the dance expression of our First Peoples. We pay our respects to their Elders — past, present and emerging — and acknowledge the valuable contribution they have made and continue to make to the cultural landscape of this country.

Photo Principal Artist Joel Woellner by David Kelly

Dec—Feb SEASON 2021

Queensland Ballet Academy Summer Soirée 9 December Lyric Theatre, QPAC Queensland Ballet Academy, in collaboration with Philip Bacon Galleries, presents its inaugural Summer Soirée, a sophisticated evening of art, dance and inspiration. — SEASON 2021

The Nutcracker 16–23 December Lyric Theatre, QPAC Whisk the entire family away this festive season to a magical Christmas Eve party where snowflakes flutter, fireplaces crackle, and enchanted toys come alive to frolic and play. — SEASON 2022

The Sleeping Beauty 25–26 February HOTA, Gold Coast Be drawn into the fairytale world of good versus evil as Queensland Ballet performs The Sleeping Beauty. — ACADEMY

Summer Schools December 2021–January 2022 QB Academy, Kelvin Grove Dancers aged 10 to 18 years are invited to train under Queensland Ballet Academy’s esteemed Faculty over the Summer School Holidays. — ACADEMY

Junior Summer Schools December 2021–January 2022 QB Academy, Kelvin Grove Children aged 7.5 to 9 years, enjoy foundational training in classical ballet, character dance, repertoire and contemporary dance. — COMMUNITY

Nutcracker Mini Dance Camp 16–17 December Queensland Ballet, West End Spend two fun-filled days dancing, creating, and discovering the wonderful world of ballet with QB Teaching Artists in this special Nutcracker themed Mini Dance Camp. — COMMUNITY

Teen Unite Immersion: Moreton Bay 14–16 December USC, Moreton Bay Teens of all skill-levels aged 13–17 are invited to unite for an iconic three-day program of dance classes and mentorship workshops and more at the new USC Moreton Bay campus! —

— For bookings or information visit queenslandballet.com.au *All information correct at the time of printing, and subject to change.

ISSUE #8 DECEMBER 2021

ISSUE #8

WHAT’S ON

INTERVIEW Dream Chasing Lucy Green Principal Artist

QUEENSLAND BALLET

Lucy Green on perfectionism, not giving up, and living the dream as Principal Artist

Words Chelsea Clark Photos Principal Artist Lucy Green by David Kelly

— Lucy’s story begins like many ballerina’s stories do. She fell in love with ballet at six-years-old, after her Melbourne primary school included dance as a compulsory part of their curriculum. In high school, she completed her tertiary education at the Victorian College of the Arts Secondary School (VCASS), a performing arts college that offers courses in dance, musical theatre, and art. “I just didn’t see my dancing and personality matching with a really elite ballet school. VCASS was less intensive, and I think I really benefited from having that freedom,” says Lucy. But when she graduated, she found herself in a predicament: VCASS didn’t have connections to a ballet company. While many of her peers within the industry were being offered contracts with prestigious ballet companies, she found herself without a job. “I had auditioned for a few places, but didn’t receive any responses. I knew I didn’t want to go and do more training because I felt I was ready.” However, Lucy knew in her heart she was destined to be a part of the ballet industry and was prepared to do whatever it took. She took up part-time and casual work, teaching adult ballet classes at The Australian Ballet Education Program and local ballet schools around Melbourne. A year went by, and she received no offers. She was about to admit defeat and enrol in university when she came across an advertisement for auditions for Royal New Zealand Ballet. “I had not done intensive ballet training in nine months,” Lucy recalls. “I was nervous, but I worked hard to get into shape. I sent my video application in, and Greg Horsman and Gary Harris showed interest in me. “When I flew over to audition, they offered me a job on the spot.” During her time with Royal New Zealand Ballet Lucy quickly climbed the ranks, and performed Principal roles in world-famous ballets including Liam Scarlett’s A Midsummer Night’s Dream, and Johan Kobborg and Ethan Stiefel’s Giselle. After seven years in New Zealand, Lucy decided it was time for change. She began looking for opportunities in Europe, and received a contract with The Scottish Ballet. But Queensland Ballet began to intrigue her. “Being on the other side of the pond to Queensland Ballet and seeing the things that Li was making happen over here,

it was magical… It felt like there was a really exciting momentum and energy behind the Company, and that’s what drew me in,” she says. “They saw me fit within the QB equation, and that was really reassuring. I like to be in a place where individuality is appreciated.” Lucy joined the Company as a Soloist in 2017 and was promoted to Principal in October that same year. But her story doesn’t end there. “I have never had any trouble with self-motivation… that’s something I have had since I was little. Being more senior in the Company hasn’t changed the mentality at all for me,” she reflects. “You look around our Company and everyone works so hard. You’ve got such exciting repertoire and opportunities and it’s just so inspiring.” Not one to falter from motivation, Lucy decided to revisit the possibility of studying at university when Covid-19 began to impact the Company’s rehearsals and productions. She is currently enrolled in a Bachelor of Business at Queensland University of Technology (QUT), and although it can be hard to juggle part-time university with full-time dance, she’s dedicated to excelling in both. “I am definitely a perfectionist, and it seems to carry through my studies. I think that I probably spend twice as long doing my assignment as I probably should, just because it has to be exactly how I want it,” she says. Although she still has a long career ahead of her, Lucy has begun to think about her future beyond the stage. She hopes that she can pair her business degree with her love of dance, to further her contribution to the artform on a large scale. “In the future, I am hoping to use these skills to re-enter the arts world with a different hat on and make a long-lasting contribution,” she says. But before that day comes, Lucy — ever the perfectionist, still strives to new heights. “I want to get better at telling stories. That is my favourite thing about ballet, the acting. Not that I think I am not good at it, but that’s what I love to do.”

See Lucy in our upcoming 2022 Season. For Season Tickets, visit queenslandballet.com.au —

ISSUE #8 DECEMBER 2021

GALLERY Bespoke 2021: Mind your Head by Jack Lister — Highly physical and packed with personality, Jack Lister’s Mind your Head — part of our contemporary Bespoke program, explored the similarities between professional wrestling and classical ballet. Zoe Griffith’s vivid, multi-coloured costumes enhanced the vibrant, energetic piece, while music by the legendary Benny Goodman and Sandy Nelson, with its percussive sounds, perfectly complemented the movement.

QUEENSLAND BALLET

Photos Queensland Ballet dancers in Jack Lister’s Mind your Head, Bespoke 2021 Photos by David Kelly

ISSUE #8 DECEMBER 2021

Photos Queensland Ballet dancers in Jack Lister’s Mind your Head, Bespoke 2021 Photos by David Kelly

IN-DEPTH

Art and Dance Collide QUEENSLAND BALLET

It’s one for the calendar: QB Academy’s inaugural Summer Soirée offers Brisbane a one-night-only glamorous affair

Words Cassandra Houghton Photos Echo (2009) by Michael Zavros

— There’s a painting by Australian hyper-realist artist Michael Zavros that depicts two worlds colliding, and not the worlds you would expect. Painstakingly painted in oil and a giant 210 x 320cm in size, Echo shows gleaming, modern gymnasium equipment in a gilded corridor of the 17th century-built Palace of Versailles. There are mirrors everywhere, reflecting sleek lines, refracting light, stark silver, and the intricate 1600s artwork adorning the architraves and ceilings. And when Queensland Ballet Academy Summer Soirée choreographer Paul Boyd found it amongst the pages of a thick art coffee table book, he was immediately inspired. “I couldn’t believe what I was seeing. I was looking through a book of Michael’s work and I saw it and, at first it blew my mind to think that it’s hand-drawn, and then secondly, I saw the connection — the relationship between our job — ballet, and the opulence, the beauty, the history, and the complete contrast of the gym,” Paul says. “I saw that as the absolute power and strength the dancers need to be able to produce, with something that fits into history. It’s not normally a picture I would choose, but I just thought it was amazing.” Paul’s passion for this inaugural Summer Soirée, which sees Queensland Ballet Academy collaborate with Philip Bacon Galleries, Michael Zavros, and Camerata — Queensland’s Chamber Orchestra, is immediately apparent, and rightly so. The exclusive red-carpet event is a first for Queensland Ballet and its Academy, as well as Michael, Philip, and everyone else involved. The night encompasses new choreographic works by Paul and another renowned choreographer, Natalie Weir, with talented Queensland Ballet Academy students performing against projected Michael Zavros art backdrops. Held at the Lyric Theatre for one night only, it’s a fundraising affair drenched in glamour. When I interview Paul he’s deep in choreography mode, after cementing some equally enthralling live orchestra music to accompany the movement. After discussing the beauty of the music, which is by Brisbane composer John Rotar, he notes what

an incredible opportunity this collaboration is for ballet students not just in Queensland or Australia, but across the globe. “It has been a great process and an amazing experience so far. So collaborative, and that’s what I have loved over my years as a choreographer: the collaborations between people, the fusion. It’s beautiful, I love that,” he says. “I’m working with the Academy Program Level 1 students (17–18 year olds), and because I teach them I know them quite well and there are some really good dancers there. I don’t have the luxury of having them all day every day, so it has to be quite planned with their schooling and their academic studies, but it’s a new discovery for them, a new movement, and I think they’re excited.” He says the pandemic has been challenging for the students, particularly with the cancellation of the Academy Gala two years in a row. “I had choreographed a brand-new 30-minute piece for them for the Gala and we had built that over eight or nine months, and then it was gone…so they were a little downhearted,” he recalls. “But I said to them ‘chins up’ because I’m creating a new piece just for you for this incredible event at the Lyric. It’s an amazing opportunity for them.” Just as impressive is Paul’s history as a dancer and choreographer. From dancing for Prince Rainier and Princess Grace in Monte Carlo to performing the role of Spartacus at the famous Summer Arts festival in Arena di Verona, Italy, the former Principal Dancer spent his youth onstage with some of the best companies across Europe. He has now been a teacher at the Academy for eight years, and choreographs regularly. So he knows exactly what a rare opportunity this is for the young Brisbane students. Once I realised the enormity of having Michael’s works involved, the project took on a whole new level,” he says. “Queensland Ballet Academy has some exciting times ahead.” — Summer Soirée is on at the Lyric Theatre, QPAC on 9 December.

To book tickets to this and other Academy shows in 2022, visit queenslandballet.com.au

ISSUE #8 DECEMBER 2021

Summer Programs

Junior Summer Schools Dancers aged 7.5–9 years 15–17 December 2021 17–19 January 2022

Train with our esteemed Academy faculty over the school holidays in our world-class facilities at Kelvin Grove, Brisbane.

Summer Schools Dancers aged 10–18 years

To register, visit queenslandballet/school-holiday-programs 9

13–18 December 2021 10–15 January 2022

EXPLORE Nigel Gaynor Music Director and Principal Conductor

Best Ballet Scores of All Time

You might think you know ballet music, but according to QB’s Music Director and Principal Conductor Nigel Gaynor, you might not. As we chat in the music office at Queensland Ballet’s West End headquarters about the best ballet scores of all time, the sound of a 1940s-style big band filters through the walls from the dance studio next door, and it sounds like anything but ‘ballet music’. And yet, Nigel says there are scores that immediately come to mind. Some, you might recognise (Tchaikovsky’s The Nutcracker and Swan Lake), and others are so sublime in their transportive qualities that they would top the lists of most music directors across the globe. Take a tour through Nigel’s favourite list, below.

Firebird by Igor Stravinsky Firebird’s stunningly beautiful score has been a favourite for many years. The climactic ending is an incredible experience to conduct, especially with Liam Scarlett’s choreography for Queensland Ballet. All the others on this list are equal 2nd favourites!

—

02 QUEENSLAND BALLET

Rite of Spring by Igor Stravinsky —

A Midsummer Night’s Dream by Felix Mendelssohn

Apollon Musagète by Igor Stravinsky

Swan Lake by Pyotr Ilyich Tchaikovsky

The Nutcracker by Pyotr Ilyich Tchaikovsky

—

13 Piano Concerto in G by Maurice Ravel Along with Firebird, I’m especially fond of Ravel’s piano concerto in G, which was my first piano concerto for Graeme Murphy’s wonderful ballet Beyond 12.

—

The Sleeping Beauty by Pyotr Ilyich Tchaikovsky

Sinfonietta By Leoš Janáček —

Photo David Kelly

—

Words by Cassandra Houghton

Shéhérazade by Nicolai Rimsky-Korsakov

—

Romeo & Juliet by Sergei Prokofiev

Daphnis et Chloé by Maurice Ravel

—

Cinderella by Sergei Prokofiev

Petrushka by Igor Stravinsky

—

15 La Valse by Maurice Ravel —

See Nigel conduct Queensland Symphony Orchestra in our 2022 Season. For Season Tickets, visit queenslandballet.com.au/2022

—

EXPLORE

Farewell Camilo Principal Artist Camilo Ramos hangs up his ballet shoes in this year’s final Nutcracker performance ISSUE #8 DECEMBER 2021

— Camilo Ramos skilfully portrays grace and softness onstage, but don’t be deceived — he’s one tough cookie. He began his ballet life as a nine-year-old at one of the world’s largest ballet schools — the Escuela Nacional Cubana de Ballet in Havana, Cuba. Not an institute for the faint-hearted, it’s the biggest ballet school in the world and dates back to 1931. Cuba is a passionate arts country, where training fees are covered for students, but with that gift comes a pressure for everyone involved to deliver. Camilo says the teachers’ briefs were to ensure the students were constantly developing and growing. “They’re constantly looking for ways to challenge you,” Camilo explains. “You may have given the performance of your life, but they would be in the wings with some pointers on how you could have done better. “Some people may see this as tough or harsh, but I grew to love it. I saw how much they cared, and how invested they were in helping me to become the best performer I could be.” He learnt to embrace hard work, and brought this work ethic to Brisbane when he and his partner (now wife), Principal Artist Yanela Piñera, moved here to join Queensland Ballet in 2015. “The best advice I’ve ever received throughout my career is that every day is important,” he says. “No matter how tired you feel, or even if you are feeling down, you don’t want that day to be wasted. So push yourself to 100 percent — always.” Camilo’s ballet beginnings also produced another love. Yanela knew of Camilo through their ballet school, even though he was two years her junior. She says she first saw him dance when he was in his final year and she was in the Company, the Ballet Nacional de Cuba. “When he joined the company in Cuba, he was one of those dancers who catches your attention,” she recalls. “Since then, I’ve seen him develop as a dancer in many ways, technically and also his maturity as an artist. He is also such an incredible partner. He is a true artist. His passion, his commitment, his work ethic, his discipline is very inspiring.  Yanela says they danced together in Cuba for many years. “There are so many ballets and roles we really loved dancing together. Spartacus, Swan Lake, Don Quixote, Coppélia, Alicia Alonso’s Romeo & Juliet to name a few,” she recalls.

So it’s fitting the pair will share Camilo’s final onstage dance before he officially hangs up his ballet shoes. Camilo will enjoy a fairytale ending playing the Prince alongside Yanela as the Sugar Plum Fairy in this year’s production of The Nutcracker. He’s looking forward to the bittersweet occasion. “It will be very special to share my last show with Yanela. We have shared so many beautiful and unique moments onstage throughout my career,” he says. “I still remember the first time we danced together 13 years ago, and that performance will be in my heart forever. Dancing with her has always been a highlight.” He says he’ll remember Queensland Ballet fondly. “There have been so many highlights. Some of my favourite roles have been James in La Sylphide; Puck and Oberon in A Midsummer Night’s Dream; Peter Pan in its namesake production, Solor and Golden Idol in La Bayadère; and performing in Jiří Kylián’s Soldier’s Mass. “I’m so grateful along the way I had opportunity to work with choreographers such as Ben Stevenson, Liam Scarlett, Greg Horsman, and Natalie Weir,” he says. After six years with Queensland Ballet and 14 years as a Principal Dancer, Ramos will move into a new role at the Queensland Ballet Academy as an Academy teacher. He developed the interest and skill-set during his years assisting with teaching and coaching during the Academy’s workshops programs. Camilo says he’s looking forward to the new challenge. “I’m honoured and I feel very privileged to have the opportunity to join the Queensland Ballet Academy as a teacher,” he says. “It will be exciting to take on this new role. I hope to help and inspire the next generation of dancers, and to be a positive influence on the students.”

Camilo’s last performances with Yanela will be The Nutcracker: 16 December, 7.30pm; 18 December, 1.30pm; and 22 December, 7.30pm. Book tickets at queenslandballet.com.au —

Words by Meryn Cooper Photo David Kelly

QUEENSLAND BALLET

THE BALANCE OF BALLET CASTING How do dancers prepare for multiple casts across — one season? From lead characters to corps de ballet roles across multiple nights, we chatted to Company Artists Luke Dimattina and Isabella Swietlicki about the physical and mental endurance of a mainstage ballet season. 12

INDEPTH The Balance of Ballet Casting Luke Dimattina Company Artist

How do dancers prepare for multiple casts across one season? From lead characters to corps de ballet roles across multiple nights, we chatted to Company Artists Luke Dimattina and Isabella Swietlicki about the physical and mental endurance of a mainstage ballet season.

ISSUE #8 DECEMBER 2021

— When Company Artists Luke Dimattina and Isabella (Bella) Swietlicki joined the Queensland Ballet company in the beginner ranks — Luke in the Pre-Professional Program (PPP) in 2017 and Isabella in the Jette Parker Young Artist Program in 2018, they expected corps de ballet roles. Not lead roles, and certainly not in their first year. But Queensland Ballet, under Artistic Director Li Cunxin, does things a little differently when it comes to castings. Not all lead roles go to Principal Dancers, and there are multiple casts per season. Fresh to the Company, Luke had the chance to perform the role of Fritz in the iconic party scene of QB’s festive favourite, The Nutcracker, while Bella was cast in a featured role in Rani Luther’s contemporary season of Lunar. Both dancers were thrilled with the depth of opportunities available to them. “I was able to show the artistic staff that even as a PPP student, I could perform a character role onstage with the other company dancers, and fit in both technically and artistically as a future QB Company Dancer,” Luke says. Earlier this year, the box office-breaking The Sleeping Beauty, had five casts. Luke and Bella performed four different roles throughout the two-and-a-half week run, which they both found rewarding and challenging. Li says this number of casts is extremely rare for a small company (Queensland Ballet has 60 dancers — The Royal Ballet in London has more than 100), but he wants to ensure every dancer has an equal opportunity to shine onstage. “We’re an ambitious Company. We endeavour to give our dancers as many opportunities as possible to do solos and leading roles,” Li says. “We are always striving to showcase the depth of talent within our company.” Preparing a role for an extravagant mainstage production involves an intensive rehearsal period that can sometimes test both the mental and physical capacity of dancers. When two, three or even four roles are added to this process, it becomes even more challenging. Li says there are more rehearsal hours, not just for the five lead casts, but for everyone underneath who has to rehearse and be ready. It can be challenging time-wise for both the artistic staff and dancers.

Isabella Swietlicki Company Artist

Once roles have been cast, rehearsals for different cast lists can be scheduled at conflicting times. Bella and Luke have both developed their own methods of ensuring that each of their roles are as polished for the stage as possible. “I respect the casting process. I pay particular attention to my first and second cast roles, because that’s where I have been casted first, but also the ones that are more technically demanding,” Bella says. “During The Sleeping Beauty, I had the opportunity to perform solo roles but I still ensured that I challenged myself to perform my best when dancing in the Corps de ballet.” “I will try to get myself on top of the content heavy roles, anything that has the most dancing, or the roles that are more technically challenging,” adds Luke. Remembering specific details for a role can become a complex mental game. Steps, spacing, and musicality are all vital components that a dancer must consider when they perform onstage. In some cases, they might be in one particular scene, but perform different characters in multiple shows. This is where full run-throughs become crucial. “At the beginning, it can be difficult to retain information from all the rehearsals. Each role has its own set of counts, its own set of spacing,” Luke says. “Once you start doing full runs you see the ballet in context. If you aren’t in a particular cast, you can watch and go through the steps in your head to make sure you get all the details.” It is easy to become overwhelmed by the responsibility of learning so many roles, but everything falls into place once the dancers approach the stage. “We have done all that work in the studio, if you put yourself in the story, it’s so natural that you just react to everything that’s happening onstage,” he says. “You just have to be present.”

Words by Chelsea Clark

— See Bella and Luke in our upcoming 2022 Season.

For Season Tickets, visit queenslandballet.com.au

Photos (opposite) The Sleeping Beauty By David Kelly

QB LANDS ON THE GC

EXPLORE

— Since joining the Company QUEENSLAND BALLET

almost a decade ago, Artistic Director Li Cunxin AO has dreamed of creating a new home for the Company on the Gold Coast. In 2022, the dream comes true.

Words by Chelsea Clark Photo Principal Artists Victor Estévez and Neneka Yoshida at the site of the planned production centre

— It became known as Three Sites: One Vision, but it began with a simple idea: to spread the art of ballet as far and wide as possible, particularly across our home state. It was 1962 when Founding Artistic Director Charles Lisner declared the Lisner Ballet Company would become the Queensland Ballet Company, cementing Queensland Ballet’s position as the state ballet company, and now, 60 years later, the ethos still stands. In addition to the redeveloped Thomas Dixon Centre and the newly-built Queensland Ballet Academy at Kelvin Grove, QB recently announced plans to lay down roots on the Gold Coast — the final piece of the visionary puzzle. It begins in 2022 with a partnership with HOTA (Home of the Arts) encompassing two exclusive seasons, and will continue with the launch of the Roy and Nola Thompson Production Centre at Yatala. Li Cunxin says it is important to engage with regional communities across the state. “To truly be Queensland’s ballet company, we strive to engage meaningfully with the wonderful communities that make up our state. “We feel so connected to Brisbane, but we also want to make all Queenslanders proud of their state ballet company, no matter where they are from,” he says. And it’s thanks to philanthropist support that the production centre will emerge from a flat block of land on the outskirts of Yatala. Roy and Nola Thompson’s visionary donation enabled the purchase of the land. They were inspired upon hearing the hub will be a centre for creativity and imagination. “We have been sponsoring Queensland Ballet for a number of years now and have always loved watching their world-class productions onstage. We couldn’t be happier to support Li — a nice fella with a big vision,” Roy says.

“When we heard QB had plans to build a production centre we jumped at the opportunity to show our support. We look forward to watching the facility come to life,” Nola adds. Currently in the planning stage, the Roy and Nola Thompson Production Centre in Yatala will house QB’s precious production assets — sets, costumes and props all in climatecontrolled spaces. The site will also include spaces for set and production workshops, with opportunities for tours, education, and engagement. Meanwhile, HOTA will become the home stage for QB’s future Gold Coast performances. The official partnership will comprise a season of The Sleeping Beauty in February, and a mixed bill featuring Christopher Bruce’s Rooster and Jack Lister’s B-Sides in November. QB Executive Director Dilshani Weerasinghe believes the Company’s establishment on the Gold Coast is another step towards making performing arts accessible to all Queensland communities. “In order to take the ‘Queensland’ in our name seriously, we need to have a home presence outside of Brisbane,” she says. With 2022 just on the horizon, QB is patiently awaiting the start of this exciting next chapter. Together, the Thomas Dixon Centre, Queensland Ballet Academy, and Roy and Nola Thompson Production Centre will facilitate the Company’s vision to enrich art, communities and the arts sector here in Queensland.

— To support the development of the Roy and Nola Centre,

or to discover more about our 2020 seasons at HOTA, visit queenslandballet.com.au

EXPLORE Martha Godber Education Manager

Road Tripping From the Red Centre of Australia all the way up to Mareeba in Far North Queensland, this year, Queensland Ballet’s (QB) Education Teaching Artists travelled far and wide across the state and the Northern Territory in what has been QB’s biggest regional tour to date. We sat down with Education Manager Martha Godber to find out all about it.

This year was our largest Community Regional tour to date, with our team forecast to engage over 8,000 people across 34 locations in regional Queensland and for the first time, the Northern Territory. This year we saw a significant increase in our reach and impact from previous tours and we were able to develop partnerships with local councils to support our delivery in the communities, and ensure a meaningful, collaborative and sustainable engagement in the years to come. Visiting the Northern Territory for the first time was very significant and we were thrilled to provide meaningful arts opportunities in Darwin, Katherine and Alice Springs.

You were only on the road for about two weeks when South East Queensland went into lockdown. What kind of impact did that have on the tour and how did you adapt? When South East Queensland (SEQ) went into lockdown, we already had Teaching Artists delivering workshops in three different locations across the state. Fortunately, we were able to bring Teaching Artists home from two locations with just slight readjustments of schedules. Our team of Teaching Artists in South West Queensland could continue, given they had been outside of the locked down LGAs for two weeks. Given the prolonged lockdown and travel restrictions outside of SEQ, our Teaching Artists remained on the road longer than expected — for five weeks, to ensure delivery could continue safely. While travelling and visiting remote communities over an extended period of time, and particularly while SEQ was in lockdown, our travelling Teaching Artists undertook weekly Covid tests.

How long does it take to plan a regional tour of this size and what is involved? Planning normally commences about one year prior to delivery. There are a lot of details involved in planning, such as reaching out to local councils, studios and community groups to build relationships, creating schedules, timelines and booking travel and accommodation, which can be tricky in a pandemic! We also have to upskill Teaching Artists and ensure we are prioritising health and safety on the road. Of course, the fun part begins when tour commences and

ISSUE #8 DECEMBER 2021

What was so significant about the 2021 Community Regional tour?

we get to travel to all these incredible places and do what we love every day, which is sharing the magic of ballet! We are incredibly grateful for the commitment and support of our corporate partners, Mercedes-Benz Brisbane and LSH Auto, and Ergon Energy and Energex, who have supported the workshops in various locations, as well as loyal donors, local councils and Arts Queensland, who have enabled us to engage with so many people across Queensland and the NT.

What is your favourite part about being on the road? I love being on the road, meeting new people and working with different communities. Personally I enjoy the long road trips, exploring local cafes, restaurants and pubs and getting to know the community while we visit.

This year, QB went to the Northern Territory for the first time. Reaching beyond Queensland for a community engagement tour is momentous, what did that mean for the team? We have been in discussions with local dance teachers in Alice Springs and Darwin for about two years, however the tour had been postponed multiple times. To see this finally come to life and bring QB’s Community Regional Tour to NT was incredible. We hope to continue working with these communities in future years, building on relationships and taking more ballet to NT.

How does QB’s Community Regional Tour help break down the stigma associated with ballet? Key to our Community Regional tour is making ballet accessible and relevant, as we truly believe in the benefits of ballet for all regardless of location, age, experience or background. Whether it is the first touch point, or participants are aspiring young dancers or ballet fans, we aim to share the joy, physical and social benefits of ballet that connect and inspire communities.

What have been your favourite locations this tour? My favourite locations have been Alice Springs, Thargomindah, Quilpie and Dirranbandi.

Words by Ellen Gilroy

IN-DEPTH

Who is Sir Kenneth MacMillan?

QUEENSLAND BALLET

If you’re a Queensland Ballet fan, chances are you’ve heard the name Sir Kenneth MacMillan.

Words Cassandra Houghton Photos Queensland Ballet dancers in Sir Kenneth MacMillan’s Romeo & Juliet (2019); Manon, and Elite Syncopations

— It’s a name synonymous with ballet royalty to many in the dance world, and when QB obtained the rights to his Romeo & Juliet in 2019, it was considered a global coup. In our 2022 season Sir Kenneth MacMillan’s works feature twice: for his passionate Parisian masterpiece Manon, and for the vibrant ragtime ballet, Elite Syncopations. But if you’re wondering who he is, why he’s so revered, and why he was awarded his knighthood, this story is for you. He was a poor boy from Scotland who rose to artistic fame as a leading choreographer and died a knight, leaving a catalogue of exquisite ballets behind. Sir Kenneth MacMillan created more than 60 works during his illustrious career, which ended in 1992 during the first performance of a revival of Mayerling; of a heart attack, alone and backstage at the Royal Opera House. On the same evening, his Romeo & Juliet was in performance with Birmingham Royal Ballet. Described as one of the most innovative choreographers of the 20th century, he was driven by a conviction that ballet should reflect contemporary realities and emotional truth — and thus his ballets were visceral and emotive, with a freedom granted to the dancers that most were unused to. Created primarily for The Royal Ballet, his works can only be performed with express permission from his widow Deborah, Lady MacMillan. Queensland Ballet is one of only a handful of companies who have been granted this honour.

Queensland Ballet and Lady Deborah MacMillan When Li Cunxin became Artistic Director of Queensland Ballet almost 10 years ago in 2013, he wanted the company to soar. Part of that vision was to stage iconic, world-class works, so he set his sights on one of the best: Sir Kenneth MacMillan’s Romeo & Juliet. He called his friend Deborah MacMillan, whom he had met during his career as a dancer, and her first response was ‘your Company is too small to perform this ballet’. Li saw that as a challenge. In 2014 he brought in ballet superstars to fill the roles that would bring the production up to Lady MacMillan’s high standards. In 2019, when QB staged it again, he didn’t have to. Now, with Lady MacMillan’s blessing, QB will stage his blockbuster ballet, Manon, as well as another big ballet, Elite Syncopations, as part of its 2022 season. Renowned as one of the most dramatic ballets of all time, Manon is set across 1800s Paris and New Orleans, and features themes of love, conflict, greed and passion. It’s a favourite to perform by companies such as The Royal Ballet, American Ballet Theatre and other internationally renowned companies. Elite Syncopations features lively costumes and choreography, to the smooth tunes of the ‘King of Ragtime’ Scott Joplin. Staging two of Sir Kenneth MacMillan’s ballets in one season is surely testament to QB’s development into a world-class company. — To book Season 2022 tickets, visit queenslandballet.com.au

TIMELINE The life and legacy of Sir Kenneth MacMillan

1929–1943

1953

— Born to a poor Scottish family,

— In 1953 he turned his hand to choreography,

Sir Kenneth MacMillan’s life changed

creating his first ballet, Somnambulism,

when he won a scholarship at age 11 to

and would go on to choreograph

the local grammar school. Amidst WW2

more than 60 works, including

bombings and the death of his mother,

Noctambules, Solitaire, Winter’s Eve, The

the school was evacuated to Retford in

Invitation, and the renowned Romeo & Juliet.

1984 — While remaining Principal Choreographer of The Royal Ballet, from 1984 until his death, he was Artistic Associate of American Ballet Theatre and Houston Ballet.

Nottinghamshire, and it was here he first discovered ballet. Soon after, a dance connection with the young boy and, realising his potential, taught him for free

1970–1977

LEGACY

— He returned to direct The Royal Ballet in 1970 and continued to choreograph, creating works including Manon and Elite Syncopations.

1966 — In 1966, he was invited to direct the ballet company at Deutsche Oper in West Berlin where he remained for four years staging works such as The Sleeping Beauty and Swan Lake, and choreographing the multi-media Anastasia. — During his career, some of his works were on topics many considered alien to ballet: Mayerling was a dark study on psychosis; fractious mental patients in

1944

Playground; Valley of Shadows included scenes in a Nazi concentration camp, and Different Drummer told the story of George

1977–83

— At 15, he won a scholarship to the Sadler’s Wells Ballet School, plus an accommodation allowance and five shillings a week pocket money. Here, he met kindred spirits his own

Büchner’s Woyzeck, another example of man’s inhumanity to man. He also produced pure dance works and those of sublime beauty, Requiem, and Gloria — a tribute to the generation decimated by the first World War.

age. The next few years saw him join the

— He retired from artistic directorship

Sadler’s Wells Company and performing

in 1977 to focus on choreography, and

as beautiful, deeply human, interpretive,

and touring to great acclaim.

was knighted in 1983.

and theatrical.

Ultimately, his works are renowned

ISSUE #8 DECEMBER 2021

teacher in Great Yarmouth formed a

GALLERY Throwback: Nine years of Nutcrackers — Next year will mark ten seasons of Queensland Ballet’s festive favourite, The Nutcracker. In celebration of a new decade, here are a few of our favourite throwback images. — The Nutcracker is on 16-23 December. Book tickets

at queenslandballet.com.au

QUEENSLAND BALLET

Photos (clockwise) Artistic Director Li Cunxin and Senior Soloist Mia Heathcote (2017); Lead Flowers backstage (2015); and Principal Artist Joel Woellner and Soloist Vito Bernasconi as the Nutcracker Prince and King Rat (2016) Photos by David Kelly

ISSUE #8 DECEMBER 2021

Photo Queensland Ballet Pre-Professional Program dancer Sophie Kerr in Paul Boyd’s Caravanserai as part of Bespoke 2021 By David Kelly

queenslandballet.com.au