Celebrating Li Cunxin
ISSUE #9
JUNE 2022
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WELCOME
Contributors Editor Cassandra Houghton Words Cassandra Houghton, Ellen Gilroy Queensland Ballet Artistic Director Li Cunxin AO Executive Director Dilshani Weerasinghe Deputy Executive Director Felicity Mandile
Welcome to the ninth edition of Pas. magazine. Contact Queensland Ballet (07) 3013 6666 mail@queenslandballet.com.au Beesley St Studios 34 Beesley St, West End, QLD 4101 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 Artistic Director Li Cunxin AO and QB Artists in Elite Syncopations photo shoot by David Kelly
/pa/ A step or series of steps in ballet.
IN THIS ISSUE 4
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INTERVIEW
EXPLORE
Li Cunxin AO 10 years of magic —
Thomas Dixon Centre behind-the-scenes of the build —
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GALLERY
ENGAGE
Decade of Directorship Celebrating Li Cunxin —
Tour Jette Parker Young Artists —
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MUST SEE
GALLERY
Li’s Choice 3 reasons you need to see this production —
Dracula Throwback gallery —
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EXPLORE
ENGAGE
Peter and the Wolf premieres at the Thomas Dixon Centre —
Our Supporters Queensland Ballet —
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— It has been quite the journey from concept to completion, but this year the Queensland Ballet team finally moves into the redeveloped Thomas Dixon Centre. Originally a boot factory opened by Thomas Dixon in 1908, this heritage building has been Queensland Ballet’s home since 1991. When I took on the Artistic Director role in 2013, we envisioned a small extension, but it soon became clear that we needed to dream bigger to realise the ambitions of the Company with its size and scale. After years of planning, construction, and a visionary donation by the Ian Potter Foundation; and working with the Queensland Government, architects Conrad Gargett, construction company Hansen Yuncken, and many stakeholders, artists and enablers, I know I’m not alone when I say I am thrilled to move into a truly world-class dance facility this year. And it’s not just a home for Queensland Ballet: it’s a community arts hub with its own performance theatre, rooftop terrace, hire and social spaces. The building has also been designed to be WELLTM certified, meaning the air quality, light, food and spaces promote wellbeing in the highest possible way. On behalf of everyone at Queensland Ballet, I want to express our deepest gratitude and sincere thanks for all who have contributed to make this bold dream a reality. In the meantime you can find out more by exploring the website: thomasdixoncentre.com.au
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 Lucy Green by David Kelly
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Jun—Dec SEASON 2022
Li’s Choice 10–25 June 2022 Playhouse, QPAC Dramatic contemporary, neo-classical, and ragtime ballet collide in this exhilarating triple bill curated by Li Cunxin AO. — SEASON 2022
Peter and the Wolf 24 June–2 July 2022 Thomas Dixon Centre Follow the courageous young scout Peter on an adventure of a lifetime in this symphonic fairytale ballet designed for families. A My First Ballet production. — SEASON 2022
Bespoke 20–30 July 2022 Thomas Dixon Centre Explore the vibrant world of contemporary dance in a thrilling new season of Queensland Ballet’s Bespoke, now in its fifth year. — ACADEMY
Queensland Ballet Academy Gala 12–14 August 2022 Thomas Dixon Centre Don’t miss the rising stars of dance in this compelling showcase of outstanding talent by Queensland Ballet’s esteemed Academy. — SEASON 2022
Manon 28 September – 8 October 2022 Lyric Theatre, QPAC Regarded as one of Sir Kenneth MacMillan’s most iconic works, Manon is a quintessential romantic tragedy set in 18th century Paris to sultry New Orleans. — SEASON 2022
Moonlight Ballet 10–12 November 2022 HOTA, Home of the Arts, Gold Coast Travel back to the joyous fun of the 60s with this celebration of energetic choreography and hit pop and rock music in Christopher Bruce’s Rooster and Jack Lister’s B-Sides. — SEASON 2022
The Nutcracker 2–23 December 2022 Playhouse, QPAC Whisk the entire family away this festive season to a magical Christmas Eve party where enchanted toys come alive to frolic and play. —
— For bookings or information visit queenslandballet.com.au *All information correct at the time of printing, and subject to change.
ISSUE #9 JUNE 2022
ISSUE #9
WHAT’S ON
QUEENSLAND BALLET
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CELEBRATE Li Cunxin AO Artistic Director
10 years of magic Exploring a decade of Li Cunxin’s Artistic Directorship —It’s a humid Queensland afternoon – that sweltering period between morning and evening seasonal storms, and Queensland
permission to perform it.” Li says. “It shows the calibre of the Company’s talent. It also means a
Ballet’s Artistic Director Li Cunxin has just emerged from a series
lot to me personally. I danced both the lead male roles when I was
of dance classes and meetings.
with Houston Ballet, and this year I’m performing as Monsieur GM
A back-to-back schedule is not an anomaly for Li, and as we go
with Mary (Li’s wife) as Madame, so it has that ‘full circle’ feeling.” It’s fitting that Mary will share the stage with Li for this
his first year alone back in 2013, he implemented live orchestras
milestone; she has been instrumental throughout his journey and
for the Company’s mainstage performances, sold out all seasons,
she encouraged him to take the Artistic Director role. Chosen from
initiated an annual Brisbane Christmas tradition of presenting
44 applicants across the globe as far afield as the US, Germany,
The Nutcracker, and the Company saw a 160 per cent rise in
and Switzerland, the opportunity was too great to pass up.
philanthropy and sponsorships. 10 years later, with a flourishing Academy, expansive community, regional, and artistic programs, and two world-class buildings with another on the way (a Gold Coast-based production centre), Li’s not finished yet. Settling into his office in the heart of QB’s temporary West End accommodation, with its assortment of framed photographs, bookshelves, dried flowers, and a little dog Nala at his feet, he lights up at the mention of the Company’s imminent move to its original home at the Thomas Dixon Centre. The heritage-listed building has been redeveloped into Brisbane’s new cultural hub complete with studios, a rooftop bar, and a stunning new theatre. The sheer scope of the project is a prime example of Li’s ability to transform dreams into reality. “It’s exciting,” he says. “People thought we were crazy to redevelop a heritage building, but when we envisioned Queensland Ballet’s home we knew it needed enough space to accommodate all our artists, visiting artists, our PPP program (Pre-Professional Program), and to be a cultural home for the arts in Brisbane. “So that also meant including a performance theatre and social spaces.” One such social space is the rooftop terrace capturing vistas from West End to Mt Coo-tha to the Brisbane city skyline. “We had just about finalised the building design and I thought, ‘I wonder if there’s a city view up there?’” he recalls. “We sent a drone up and sure enough, it was spectacular!” Of course, it’s not only a rooftop terrace but a ‘Kite Wishes Terrace’, paying homage to a childhood memory he mentions in his 2003 bestselling autobiography Mao’s Last Dancer. As a child in Qingdao, China, he would fly kites with his father, sending hopes and dreams written onto tiny pieces of paper up to the universe. Daring to dream – and actually following through – is a personal ethos he has instilled in the Company, and it has elevated Queensland Ballet to the world stage. Season 2022, curated in
“Yes, Mary told me I should take it,” he laughs. “I was perfectly happy in Melbourne, happy with our lives, and working as a stockbroker. My book was being translated into 20 different languages, it was on bestseller lists, and I was thinking of writing another book. I wasn’t thinking of moving. But the opportunity came up, and Mary and I both had such a passion for the artform and for this wonderful life it had given us, that we wanted to give something back.” Along with touring and ‘bringing magic and joy to the regions’, he counts the rise of Queensland Ballet Academy and its nurturing of young artists as one of his most fulfilling achievements. Enabled by the generosity of Jette and Alan Parker through the Oak Foundation, he launched the Jette Parker Young Artist Program, while the Academy is thriving in its stunning new facility alongside Kelvin Grove State College. Last year, it was granted formal recognition from the Queensland Curriculum and Assessment Authority (QCAA) for its Academy Program. Transformational projects such as these and the new Gold Coast venture, which will include a new production centre at Yatala thanks to generous philanthropists Roy and Nola Thompson, are the reason he has stayed for 10 years and recently signed on for another three. In one of his first interviews in 2012 with Dance Magazine, Li said he had so many ideas, he couldn’t wait to get started. A decade later, he says the ideas are still there.
“THE PASSION, THE IDEAS, AND THE EXCITEMENT ARE STILL THERE FOR ME,” he says thoughtfully. “I think if they weren’t - if I wasn’t excited to come to work every day, I wouldn’t still be here 10 years on. “But I love working with the dancers, helping them improve
celebration of Li’s 10-year QB anniversary, features not one but
themselves every day. The Gold Coast is an exciting area full of
two Kenneth MacMillan works - an achievement he’s particularly
growth that I’m thrilled to be a part of. I’m very passionate about
proud of.
nurturing the young artists of the future. And I still enjoy seeing
“Manon in particular is a major coup, it’s one of the big ones, only a handful of ballet companies around the world get
ISSUE #9 JUNE 2022
through his decade-long list of highlights, it’s easy to see why. In
the audience reactions in the theatre: the anticipation, the joy, escapism, and just the pure love of ballet.”
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Words Cassandra Houghton Photos Li Cunxin AO by David Kelly
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GALLERY Decade of Directorship Celebrating Li Cunxin — Take a trip through the Queensland Ballet archives and enjoy special moments from Li’s 10 years at Queensland Ballet.
“I WANT TO EXPAND THE COMPANY both on the business side and the artistic side. During my time I would like to make Queensland Ballet the crown jewel, not only for Queensland but for the nation.” - Li Cunxin, 2012
QUEENSLAND BALLET
Photos (top) Li Cunxin, 2017 by Christian Tiger (bottom) Li and Principal Artist Neneka Yoshida during the 60th Anniversary Gala season, 2020 by David Kelly
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ISSUE #9 JUNE 2022
Photos (clockwise) Li onstage for The Nutcracker, 2017 by David Kelly Li and Senior Soloist Mia Heathcote, The Nutcracker, 2017 by David Kelly Coppelia rehearsals, 2014 by Christian Tiger
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MUST SEE
3 reasons you need to see Li’s Choice QUEENSLAND BALLET
Hand-picked by Li in celebration of his 10-year anniversary at Queensland Ballet, this triple bill is a jewel in our 2022 season. Kenneth MacMillan’s Elite Syncopations is a ragtime ballet extravaganza featuring the music of Scott Joplin; Greg Horsman’s Glass Concerto offers stunning choreography and is set to the mesmerizing sounds of Philip Glass; and Natalie Weir’s war-themed work We Who Are Left is a sublime exploration of raw human emotion that will leave you spellbound.
Need more? Here are three reasons you don’t want to miss this very special season.
01 Extravagant costumes
Words Cassandra Houghton Photos by David Kelly
— Kitschy, flamboyant, and beautifully bright: the costumes from Elite Syncopations were originally designed by the late Ian Spurling, who once designed costumes for Queen’s Freddie Mercury. Hailing from South Australia, he worked in the costume department of The Royal Ballet whilst also designing for ballet and opera companies around the world. For this year’s production, QB’s Costume Department has recreated an entire suite of new costumes by hand-drawing designs from the originals into a digital program and printing them onto new fabric here in Brisbane. Featuring vivid colours, patterns, jewellery, and hats, the process for the new costumes was approved by Lady Deborah MacMillan herself (wife of the late, Sir Kenneth MacMillan). Meanwhile, Greg Horsman’s Glass Concerto boasts costumes by George Wu, an internationally-acclaimed local designer. With an atelier in Brisbane, this visionary bridal and evening wear designer is renowned for his masterful tailoring, intricate detailing, and classical technique.
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02 Renowned music — Widely regarded as one of the most influential composers of the late 20th century, Philip Glass is well-known for his film scores, including The Hours, Notes on a Scandal, and The Truman Show. He has also written operas, musical theatre works, concertos, and string quartets, including Violin Concerto, which features in Greg Horsman’s Glass Concerto. With its pulse and escalating intensity, the piece perfectly complements the speed and precision of the Artists performing the stunning neo-classical choreography. ‘Joyful’, ‘uplifting’, ‘light and funny’ are a few of the descriptions of the dance concert, Elite Syncopations, which is beautifully matched to music by ‘King of Ragtime’ Scott Joplin. During Elite Syncopations, the conductor plays one of two pianos, one detuned to sound ‘Honky tonk’. With just thirteen musicians there’s an intimacy to the music, and plenty of room for each instrumentalist to play with individual style!
— Highly physical partner work, organic movement style, and a touching insight into humanity are just a few skills acclaimed choreographer Natalie Weir is renowned for. Li chose Natalie’s We Who Are Left, for inclusion in this triple bill because, as dance reviewer Michelle Potter put it: “Instant emotional involvement is the only possible reaction”. The piece is a tribute to the ANZAC soldiers of World War I, and is danced to selections from Benjamin Britten’s War Requiem Opus 66 and Weir has chosen largely from those sections of the score that include the spoken word in the form of poetry by Wilfred Owen. “It is like a dagger in the heart with its theatricality, its choreographic sensibility, and its dramatic power,” Michelle said. “It is nothing less than a knockout.”
— Book tickets online here:
queenslandballet.com.au/2022/lis-choice
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03 Captivating choreography
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EXPLORE
Musical fairytale Behind the symphonic story that has inspired generations of children
Nigel Gaynor Music Director and Principal Conductor — It might be the only ballet where if you close your eyes to listen to the music, you wouldn’t miss a single part of the plot. When Russian-born composer, Sergei Prokofiev, composed the score and narration of Peter and the Wolf in 1936, it was with the musical education of young listeners in mind. But what started as a humble production on the stage of the Moscow Children’s Theatre is now one of the most familiar pieces of music globally, with more than 400 recordings in 12 different languages. Queensland Ballet Music Director, Nigel Gaynor, takes us behind the music for QB’s My First Ballet season of Peter and the Wolf, a production you won’t want to close your eyes during, no matter how enticing the music is.
Can you tell us about the history of Peter and the Wolf?
QUEENSLAND BALLET
Prokofiev was busy composing other great scores, such as the highly acclaimed Romeo and Juliet, when he was commissioned by the Director of the Moscow Children’s Theatre, Natalya Sats, to write a musical symphony just for children. Prokofiev was a great advocate for music education and created both the music and narrative for Peter and the Wolf. Incredibly, he composed the piano version of the score in under a week, and then the orchestration in just another nine days. In the original narrative, Peter was a young pioneer, which is the Soviet version of a boy scout. The narrative promoted Soviet pioneer virtues such as vigilance, resourcefulness and the Soviet ideology of man taming nature. Despite being conceived at the heart of Stalinist Russia, Peter and the Wolf, at its core, is a tale of a curious young boy’s adventures with his woodland friends told vividly through music, which is why I think it has captured the imaginations of children for generations. In QB’s imaginative retelling choreographed by Greg Horsman, Peter is a boy scout, instilled with all those adventurous and brave qualities as Prokofiev wrote.
How do musical elements convey the characters of the story? Prokofiev composed Peter and the Wolf to help children relate to the instruments of the orchestra. Each character in Prokofiev’s story is represented by an instrument and he has cleverly selected animals well matched to the character of the instruments. The flute rapidly trills and flourishes in a high register to match the Bird; the oboe’s rich nasal timbre sounds remarkably close to an actual Duck; and the shadowy tonal qualities of the clarinet represent the sly steps of the Cat. The Wolf is represented by horns, and a rather grumpy Grandfather is conveyed by a low register bassoon. Peter’s theme is carried by the sonorous warmth of the strings and is the central theme linking everyone together. While Peter’s tune is generally joyous and relaxed, it takes unexpected directions harmonically into ominous sounding minor keys, suggesting approaching dangers, and yet Peter’s theme can return to the relative safety of the initial major key just as suddenly. It’s a marvellous metaphor for Peter who fearlessly explores his world, encountering dangers, but managing always to return to safety.
Words Ellen Gilroy Photo Company Artist Callum Mackie By David Kelly
of research and found Prokofiev had composed other music for children a year prior to creating Peter and the Wolf. It was a piano score from Prokofiev’s Music for Children Opus. 65, and it fits perfectly. Peter and the Wolf was also originally created for the entire orchestra. Instead, I’ve rearranged our version to a chamber music size of just eight musicians. This means we can integrate all the musicians onto the stage leaving plenty of room for the dancers.
Peter and the Wolf was originally created with only music and narration to convey the childhood tale. What musical elements drive the narrative along? Prokofiev uses increases in tempo, volume, and incrementally rising instrumental registers to contribute to the escalating tension in the story. The Duck’s desperate and hopeless efforts to outrun the Wolf is especially dramatic, with the oboe accompanied by an accelerando from the other instruments. It definitely gets children on the edge of their seats as the chase ensues! Another clear example is the back-and-forth bickering between the Duck and the Bird. You can hear the distinct voices of each character and imagine them as they argue around the pond.
Do you think Peter and the Wolf is successful in its mission to educate children on music? Peter and the Wolf is a fascinating tale, with musical instruments that clearly relate to their characters. This piece is regularly performed all over the world because it’s such an exhilarating musical tale that people of all ages, not just the young, thoroughly enjoy. Prokofiev’s original narration now has a lot of star power behind it too, with narrations recorded by Leonard Bernstein, David Bowie, David Attenborough and Sophia Loren to name just a few. I recommend the wonderful Australian version with Dame Edna Everage, conducted by legendary ballet conductor and arranger John Lanchbery. Peter and the Wolf truly empowers children’s imagination, as every child has their own unique way of interpreting the story they are listening to.
Which of the character’s motifs is your favourite and why? I particularly find the Wolf ’s motif stirring, as its frightening theme, played by the horns, grows in malevolence throughout the story. The theme almost continually ascends in pitch, methodically and purposefully, suggesting a dark force that is growing, and not yet revealing its full potential.
What are you finding most rewarding about creating this season? In the spirit of the piece’s education, we have invited students from the Queensland Conservatorium to play for the performances. This is an exciting venture into professional life for our young and emerging musicians and I’m really looking forward to working with them with this much-loved music.
The original Peter and the Wolf score is approximately 25 minutes in length, however Greg Horsman’s choreography is 50 minutes. How have you rearranged the score?
— See and hear the tale of Peter and the Wolf come to life when
Greg has lengthened the story to make the show approximately an hour’s duration, so we’ve had to source additional music to add to the original score. Greg did a lot
QB presents this beloved symphonic fairy tale at the Thomas Dixon Centre 24 June – 2 July, as part of our My First Ballet series: queenslandballet.com.au/2022/peter-and-the-wolf
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ARTS FOR ALL QUEENSLAND BALLET
Brisbane’s newest cultural hub, the Thomas Dixon Centre, opens its doors
— The Thomas Dixon Centre (home of Queensland Ballet) has been redeveloped into a performing and visual arts centre for Brisbane locals and visitors alike. It’s also striving to be the world’s first WELLTM accredited performing arts building, with light, air, design, and materials chosen to enhance health and wellbeing. Envisioned by Queensland Ballet and the Queensland Government, architects Conrad Gargett and construction company Hansen Yuncken, the centre has a rich history dating back to the 1800s as a boot factory. We spoke to architect Tamarind Taylor about how they painstakingly preserved the facility’s incredible history and transformed it into an iconic Brisbane building.
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EXPLORE Tamarind Taylor Architect
Hi Tamarind! You’ve been working on the Thomas Dixon Centre redevelopment for about 10 years. What’s the most challenging thing about redeveloping a heritage-listed building?
What elements of the building did you find the most interesting? I am somewhat biased to the heritage elements! The history, materiality, and volumes of these spaces are fantastic to work with – an example is the Bunker Bar, which promises a most unique and intimate space. We also sought to provide moments of delight in the new extension. One of my favourites is the Hero Studio (studio 5). It offers a large, saw tooth volume with a beautiful view through a glazing unit which gives a silk screen effect in both directions, and the opacity of which reverses day to night. From the dance floor there is a most picturesque view to the old tin roofs, brick chimneys and gardens of the West End neighbourhood. This creates a strong connection with the community, while from a technical point of view manages light and glare so the dancers can enjoy the natural light and views all day long. Another fabulous location is a Performance Theatre that has been squeezed onto the site with a Lyric Theatresized stage. It will be both intimate and grand at the same time, and has been beautifully adorned with the integrated artwork of Judy Watson. I could keep going but I want to keep a few surprises for visitors!
Size of the Thomas Dixon Centre? The overall square meterage is around 15,000 sq m. Specifically, it’s: •2 ,200sq m for the existing two storey and a service mezzanine level of the Thomas Dixon heritage building •4 ,800sq m for the two basement levels including the car park and Bunker Barre •8 ,000sq m for the five storeys of new build including the new Shed, Promenade and Performance Theatre
Did you find any interesting pieces of history hidden in the building during the project? Prior to construction, the former air raid shelters were
Is there anything else we might find interesting? The centre offers a unique opportunity for anyone to come and see behind the curtain and what goes into a performance. You have the chance to see the dancers rehearse, the seamstresses at work, the production crew rigging and setting up the stage, the creatives and enablers in the Queensland Ballet team managing the logistics, music, choreography, and all those other aspects that make a production. There are not many places that can offer the general public such a comprehensive insight into their world. There is also the concept of wellness, through the building’s international WELL Building standards. This accreditation influences everything from the air you breathe, to lighting, acoustics, food and beverage, exercise, community engagement, gardens – the list goes on. There are so many delightful moments to discover, and to top it off, some stunning artworks from Australian and international artists.
And finally, from concept to completion how long has the project taken? It has been a wonderful and collaborative journey for Conrad Gargett and Queensland Ballet, with explorations dating back almost 10 years to 2013. Originally conceived of as a small extension, over time it became clearer that we needed to dream bigger to capture the ambitions of Queensland Ballet in this project. After considering other sites, it was determined that the Thomas Dixon Centre is their true home, and we needed to fully utilise this site to realise their ambition for a world-class facility. The project in its current state commenced with an allday workshop with representatives of the entire QB team in March 2017. Over time the briefing requirements and ambition grew, as did the interest of various stakeholders in supporting the ambition. We eventually turned soil with Early Works in May 2019, and the Main Contract started in May 2020.
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Partnering with Queensland Ballet to deliver what will be a tremendous facility, has been an honour for Hansen Yuncken. The project involved working through many technical challenges, including the restoration of the heritage listed Thomas Dixon Centre, and we know the whole community who practice, learn, work and attend the new home of Queensland Ballet will be amazed at the quality achieved throughout the completed building. Hansen Yuncken is pleased that we were able to contribute towards enhancing the cultural fabric of Brisbane. –Greg Baumann, QLD State Manager, Hansen Yuncken
SUPPORT OUR VISION for the Thomas Dixon Centre by dedicating a seat in the new theatre, or taking your support into the private heart of our artists world with a dancer’s dressing room station dedication! queenslandballet. com.au/support/thomas-dixoncentre-build-the-magic
Words by Cassandra Houghton Photos PG 12 by Conrad Gargett PG 13 Artist Impression: Doug and Wolf, Architects: Conrad Gargett
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Fortunately as the building was a factory, we could work with very large, open plan spaces and minimal internal walls. But typically, compliance upgrades and the introduction of new services to meet contemporary needs are the trickiest aspect of working with heritage places. As for the conservation side of things, there had been some historically poor decisions made from past users…such as acid washing of the brickwork, and significant changes to the original windows. For the windows we had very little reference documentation as to their original detailing. We had to look to photos of both the Thomas Dixon Centre and similar factories of the time period, which were very helpful. We then sought to restore them with some sympathetic and necessary modifications for thermal and acoustic comfort.
filled with shoe dies, press knives, and patterns. Despite the rust, they were in pretty good shape and many were still razor sharp. Outside the air raid shelter, there is a brick that would have been engraved prior to firing by Private Noel Patrick Cunningham B Company, 2/26 Battalion AIF Redbank. It’s a small detail that really personalises and gives context to the shelters – please do keep an eye out for it on your way to the new Bunker Barre (opening date to be advised). Then, during conservation works our heritage bricklayer, Mozbiz, uncovered a number of leather scraps, cuttings and patterns from between the timber floorboards and the bricks of the former workshop zones. These little details build such a strong connection to place and the previous use as a boot factory. However probably one of the biggest surprises was when one of the pile drivers struck oil. Unfortunately, not the kind that would be considered black gold, instead were old fuel tanks essential to the operations of the factory. But these were unknown to the team, and not illustrated in any of the historical documents we had for the site.
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ENGAGE Edison Manuel Jette Parker Young Artist
QUEENSLAND BALLET
Jetting off As our Jette Parker Young Artists head to London this month to perform in the Royal Opera House’s (ROH) Next Generation Festival, we explore the program with one of the cohort, Edison Manuel.
Words Ellen Gilroy Photo Edison Manuel By David Kelly
— The blur of green forestry alongside the Bruce Highway became a familiar sight to Edison Manuel throughout his teenage years but it was worth it, in the end. The 20-yearold was offered a place in Queensland Ballet’s Jette Parker Young Artist Program this year and tours to London this June in what he says will definitely be a career highlight. Travelling from Noosa to Brisbane each week in the early days, he describes his dance journey as challenging yet rewarding, from the beginning of his journey at a local studio to training at Queensland Ballet Academy and now, as a member of Queensland Ballet itself. “I started my dance journey at the local studio back home on the Sunshine Coast. I dipped my toe into tap and jazz, but as I got older I found there was more substantial repertoire and music in ballet, and I fell into it from there,” Edison says. “My dance teacher in Noosa, Jason King, encouraged me to audition for the Queensland Ballet Academy Junior Program (now known as the Guest Associate Program) when I was 11-years-old. “I remember on the day, seeing the Company Artists in the studios at the Thomas Dixon Centre where we were going to be auditioning. It was my first glimpse of a real Company and it definitely left me feeling inspired.” Living over two hours away from the Academy studios, Edison and his parents made the weekly trek to Brisbane so he could partake in the Junior Program. It wasn’t long until Edison’s artistry began to flourish as he naturally progressed through the ranks of the Academy. “It wasn’t an immediate attraction to ballet – it did take time,” he says. “But once I joined the Academy it was something that I latched on to, and I haven’t looked back since.
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“Eventually my training schedule became more rigorous and time consuming, so I made the decision when I was 15 to move out of home to train full-time. It was daunting and it forced me to grow up quickly, especially at a young age, but I had a lot of support from my family and QB during that time.” After years of watching the Company from afar, Edison has finally stepped into the studio as a member of the Company, performing with, and learning from some of best in the business. “I remember being a student and seeing so many renowned faces walk the halls right outside the studio. I would peek into the studios to see beautiful pas de deux and partnering in action,” Edison says. “For me, dance is an escape, and to see a professional career as a ballet dancer on the horizon is incredibly exciting. “I’m eager for what this year will bring as a Jette Parker Young Artist, and to be able to be part of an incredible repertoire of work on the big stage.” The London tour is an annual part of the JPYA program, which is a sister initiative to the ROH’s Jette Parker Young Artist Program, and will see the young dancers perform an exciting triple bill with works by QB’s Associate Choreographer Jack Lister and Resident Choreographer Natalie Weir, as well as Royal New Zealand Ballet’s Resident Choreographer Loughlan Prior. Combining dynamic contemporary dance with technology, design and music, the performances are part of The Royal Ballet’s Next Generation Festival.
— Find out more on the QB website:
queenslandballet.com.au/company/jette-parker-program
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GALLERY THIS IS A STUNNING LOOKING“ AND SOUNDING PRODUCTION, BEAUTIFULLY STAGED AND PERFORMED
Throwback: Dracula (2021) — In November 2021, we premiered our gothic love story Dracula to the east coast of Australia to much acclaim. This co-production with West Australian Ballet by renowned Polish choreographer Krzysztof Pastor followed the tale of Bram Stoker’s classic novel, Dracula, and swept audiences from QPAC’s Lyric Theatre into 19th century Transylvania. Many audience members hailed it their favourite Queensland Ballet production – ever.
–Olivia Stewart, Limelight
QUEENSLAND BALLET
Photos (clockwise) Principal Artist Camilo Ramos, Victor Estévez and QB Artists; Principal Artist Lucy Green and First Company Artist Joe Chapman; Principal Artist Yanela Piñera and QB Artists By David Kelly
“THE STORY IS
ARTICULATED CLEARLY, THE SETS ARE AMAZING, THE COSTUMES SUITABLY GOTHIC AT TIMES, AND THE DANCING IS SPECTACULAR. AND CAMERATA IS MASTERFUL”
–Phil Brown, The Courier Mail
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“IT’S A BLOOD-
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–Peter Pinne, Stage Whispers
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THIRSTY TRIUMPH. THIS GOTHIC LOVE STORY IS TOLD IN A STYLE THAT FUSES TRADITIONAL CLASSICAL BALLET WITH CONTEMPORARY DANCE”
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Mercedes-Benz Brisbane QUEENSLAND BALLET
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194 Breakfast Creek Road, Brisbane. Telephone (07) 3251 6666. www.mbbrisbane.com.au | Follow us on Instagram & Facebook.
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Eos by SkyCity/SkyCity Adelaide Casino Expansion Project, SA
Thomas Dixon Centre, QLD
Victorian Pride Centre, VIC
MONA Museum of Old and New Art, TAS
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The Hedberg, TAS
Home of the Arts (HOTA) Gallery, QLD
From state of the art entertainment venues to landmark community spaces, we pride ourselves on the delivery of complex projects. Savvy and innovative, our teams embrace the opportunity to push the boundaries of traditional construction and deliver iconic buildings.
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DRIVEN BY CHALLENGE BUILT WITH PRIDE
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ISSUE #9 JUNE 2022
Enhance Research is proud to be a partner of Queensland Ballet We are an independent market and social research agency, established in Brisbane for over 25 years and work with a variety of clients across multiple industries including government, commercial, not for profit and the arts.
How we work We listen to our clients to understand the challenges they are facing and understand that research is only as valuable as the problem it solves. Our research approaches are tailored to our clients’ challenges. We deploy a blend of next-generation and traditional research approaches to solve problems. Our team of passionate, inquisitive researchers have a unique blend of agency, client-side and academic research experience and are driven to deliver actionable insights. We add value to our clients businesses through innovative delivery of insights and we employ a range of techniques designed to best inform action-plan development. We have a track record of delivering quality actionable insights for over 25 years for some of Australia’s leading commercial, government, not for profit and arts organisations. We work with our clients to implement change. Strategic workshopping with our clients to design actions that will bring the insights to life and drive meaningful change. enhanceresearch.com.au 19
Photo Queensland Ballet Academy dancers in Summer Soirée, 2021 Art: Falling August, charcoal on paper, 2006, by Michael Zavros By David Kelly
queenslandballet.com.au