Queensland Ballet - Pas Magazine Issue #10

WELCOME

Contributors

Editor Cassandra Houghton Words Cassandra Houghton, Meg Collins Queensland Ballet Artistic Director Li Cunxin AO Executive Director Dilshani Weerasinghe

Contact

Queensland Ballet (07) 3013 6666 mail@queenslandballet.com.au

Thomas Dixon Centre, 406 Montague Rd, West End, QLD 4101

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.

Queensland Ballet Membership: TAKE THE NEXT STEP

Explore a range of Memberships for all ages that connect, inspire, and enhance your Queensland Ballet experience while supporting the timeless artform of ballet.

Members can access special ballet benefits, connect at inspiring year-round events, and enjoy curated experiences that celebrate and inspire you to uncover the magic of ballet. Whether you’re an ardent ballet lover or simply curious to discover more, it’s time to take the next step and become a member. All memberships are valid for 12 months from date of purchase – so you can become a member anytime.

queenslandballet.com.au/community/ memberships

IN THIS ISSUE

Welcome to the tenth edition of Pas. magazine.

I am delighted to write this welcome from a very different space than the last one: the stunningly redeveloped Thomas Dixon Centre. And it’s everything I had hoped it would be and more. From the dancer studios to the staff areas to the Talbot Theatre, Queensland Ballet’s home already feels well-loved and lived in, and I’m pleased to say the whole Company has settled into this beautiful community and arts hub very well.

This 10th e dition of Pas Magazine explores some of our incredible 2023 Season and will no doubt get you as excited as we are for what’s to come. We also dive deeply into a topic we at QB are so passionate about: boys in ballet. We speak to Royal Academy of Dance’s Australian Male Dancer Ambassador and QB Ballet Master, Matthew Lawrence about the intriguing origins of the artform, which I am sure will surprise you, along with one of our young Academy dancers who is taking TikTok by storm with his ballet and martials arts talents.

As we enjoy our beloved season of The Nutcracker this month, we wish you a happy and safe holiday period, and look forward to seeing you in the new year!

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 Nations 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.

Li

Boys in ballet The history behind ballet’s links to the battlefield

ISSUE #10

WHAT’S ON

Jan-Dec 2023

SEASON 2023

Giselle 14 – 29 April

Playhouse, QPAC

First performed in Paris, France in 1841, this Romantic-era masterpiece is set in an ethereal realm where vengeful spirits dance in the darkness, and love triangles can be deadly.

SEASON 2023

Trilogy 16 – 25 June

Playhouse, QPAC

Travel through time and place with Christopher Bruce’s Rooster Cathy Marston’s My Brilliant Career, and Jack Lister’s A Brief Nostalgia.

My Brilliant Career is generously enabled by Ian and Cass George, and Mr Trevor St Baker AO and Mrs Judith St Baker.

SEASON 2023

The Little Mermaid 22 June – 1 July

Talbot Theatre, Thomas Dixon Centre Discover Hans Christian Andersen’s most spellbinding fairytale of all in this charming retelling of The Little Mermaid.

SEASON 2023

Bespoke 27 July – 5 August

Talbot Theatre, Thomas Dixon Centre Venture into the unknown with three stunning world premiere contemporary works in Bespoke

ACADEMY

Queensland Ballet Academy Gala 11 – 13 August

Talbot Theatre, Thomas Dixon Centre Don’t miss the rising stars of dance in this compelling showcase of talent by Queensland Ballet’s esteemed Academy.

SEASON 2023

Derek Deane’s Strictly Gershwin 28 September – 7 October

Lyric Theatre, QPAC

Strictly Gershwin comes roaring back to evoke the glamour and romance of the golden age in this spectacular tribute to George and Ira Gershwin.

Presenting Partner Margot McKinney Generously enabled by the Ken Talbot Foundation.

SEASON 2023

The Nutcracker 1 – 20 December

Playhouse, QPAC

Celebrate the most magical and popular of holiday traditions with us as Queensland Ballet presents The Nutcracker.

Presenting Partner Sealy of Australia.Generously enabled by Valmai Pidgeon and Amanda Talbot.

REGIONAL TOUR 2023

A Midsummer Night’s Dream 24 February – 1 April

Regional Queensland (various)

Join us in a regional theatre near you as we tour Queensland with the whimsical A Midsummer Night’s Dream by renowned choreographer, the late Liam Scarlett.

For bookings or information visit queenslandballet.com.au

*All information correct at the time of printing, and subject to change.

Photo First Company Artist D’Arcy Brazier in Natalie Weir’s We Who Are Left 2022.

Photo by David Kelly

Meet Taron Geyl

It began as the art of men and kings, once performed in royal courts for the elite, but for Taron Geyl’s 240,000+ TikTok followers, ballet is accessible to the masses - and smashing stereotypes too.

The 19-year-old Queensland Ballet Academy dancer and black belt martial artist, currently in his final full-time ballet training year (Pre-Professional Program) has amassed a huge social media following by offering a unique take on ballet with his series of dance and martial arts videos that have been liked by millions.

Taron grew up learning both, with a ballet school run by his mother (a former Australian Ballet Company Artist) and a martial arts school run by his father (a 5th Dan Black Belt WTF Taekwondo) on his home property. Often wearing a fluoro yellow trades shirt, his TikTok videos alternate between him showcasing his taekwondo and dance skills. It’s a side of ballet that is surprising to many who may have considered the latter artform unmasculine.

“I think social media is quite effective in breaking the stereotype, because it gives us exposure and we can show the world what we’re actually doing,” Taron says.

“I understand the stereotype because a lot of people are taught that ballet is for women and is effeminate. So, when someone has that perspective, I don’t blame them. They haven’t experienced what ballet is like, so they aren’t aware of the masculinity within it. It requires a massive amount of strength and power, especially when performing difficult lifts with other dancers.”

One of his videos, filmed at QB, blew up to 13 million likes. Followers amassed from there. He says there’s a big range of comments that come with that.

“People can tease you for sure, but a lot of people are really supportive and say they love watching the videos, it makes them happy, and that’s why I do it – to make people happy. It’s a bit of fun, it puts people in a good mood,” he says.

“I’ve definitely been teased a bit in my life. Not so much anymore, but growing up I’d be called names and whatnot, which did have an impact. I actually had a friend who stopped dancing

because of it, and I’ve experienced that feeling. But for me, all the positive comments from my dance peers, martial arts colleagues, and TikTok followers have outweighed any negativity. The taekwondo school has been a massive support, and continues to follow my journey in dance.”

Taron trains six days a week at Queensland Ballet, fitting in taekwondo/tricking sessions wherever he can. His dad insisted he keep up the martial arts because it helps with his dance training. He uses the gym to get stronger and for bulking, so he can lift the dancers easier. Ballet provides the cardio.

Ultimately though, it’s his love of movement that inspires his passion for both.

“There are definitely similarities between the two arts,” he says.

“The strength, the discipline, the mental willpower required. “Martial arts helps with my jumps, and the power in my legs, too.”

Real life offers something bigger than TikTok ever could though.

“I performed in a piece in last year’s Summer Soirée called Echo of Reflection, choreographed by Paul Boyd (featuring art by Michael Zavros), and the feeling I got from the applause was unmatched to anything I’ve ever felt before,” he recalls, after thinking for a moment.

“It was quite amazing, that performance. It felt incredibly real, dancing on the Lyric Theatre stage, surrounded by all my peers. That was a highlight.”

Summer Soirée runs from 8 – 10 December at the Talbot Theatre, Thomas Dixon Centre. Visit queenslandballet.com.au/academy for more information.

in ballet BOYS

Taron Geyl Queensland Ballet Academy Pre-Professional Dancer

Photos Taron Geyl by David Kelly

Words Cassandra Houghton

The dancer and martial artist taking TikTok by storm

“I’d say what I love most about ballet, and why I love contemporary so much too, is just the feeling of moving. The ability to move in such different ways, and also the power and strength needed. It requires a lot of work and I love a good challenge.”

Ballet and battlefields in ballet BOYS

War veterans, rugby players, SAS soldiers, and boxers: dig past the stereotype of boys in ballet and you’ll find links to some of the most masculine-perceived fields across history.

As we wrap up Ballet for Veterans - a new pilot program with the Australian Defence Force using ballet for trauma therapy, we spoke with Ballet Master and RAD (Royal Academy of Dance) Australian Male Dance Ambassador Matthew Lawrence about how to change the perception of ballet for boys.

Hi Matthew, you’ve done quite a bit of research into the history of men in ballet, and it’s more surprising than people would think. Can you give us a quick breakdown?

According to dance historian Jennifer Homans, ballet’s very early origins were as an adjunct military art form: even today you can see the similarities in positioning – attention, at ease, first position, the lines, the patterns, the precision. Ballet was also done with equestrian and fencing and in the 1700s during the King Louis XIV days, it evolved to performance art at the courts, royal festivals and ceremonies. Throughout the French Revolution it became about aristocracy and that’s where it really evolved into a more popular kind of entertainment. Then during the Romantic period in the 19th century it changed quite a bit. The role of the man was lessened to one of support for the women, and it focused on the ballerina, almost becoming more of a gentlemen’s viewing art form. Previously to that it was a lot more male centric, and ladies didn’t dance much at all.

You have been teaching Queensland Ballet’s pilot program, Ballet for Veterans – a PhD work by Lieutenant Colonel Rick Maher that will be submitted to the Australian Defence Force (ADF). What else can you tell us about this exciting program?

I’ve been working with Rick Maher from the ADF on developing a curriculum, bringing that old somatic form of movement that the military has always used, that’s part of their DNA, and uniting it with ballet. It brings back that sense of camaraderie but in a very different movement space. It’s still that same military precision, still looking at lines, coordination, and physicality, but evolving it and bringing it back full circle. After this 12-week pilot program, we’ll do an eight-week, 12-class program and send the results from that, along with the surveys and research, to the ADF.

It sounds fascinating. Is this the first time ballet has been explored with war veterans?

It’s an exciting space, and it’s the first time it has really been systematically developed. The U.S. has a program called EXIT12 Dance Company which also works with veterans in a

dance space, but it’s more a performance dance space whereas ours is a syllabus, quantifiable space. Rick Maher is a former military officer who took up ballet classes and approached me with the idea, because he enjoyed it from that perspective. He did a lot of research into the relationship between ballet and the military, and we have developed this curriculum from there.

It really changes the way you think about ballet… It flips it on its head. But there are lots of great stories about other fields and sports and athletes using ballet techniques in their pursuits. From a mechanical perspective, ballet is a dance art form that is sports-based. We’re elite athletes, but from an athletic pursuit that has evolved over hundreds of years. What shoved sports away from it for a number of generations was obviously the stereotype, however in ballet’s DNA is a systematic approach to developing muscle strength and technique for lifting and moving efficiently in a space. And you can apply those core concepts to anything.

So is breaking down the boys in ballet stigma simply about re-education?

I think it’s about making people aware of those kinds of links and then, in my experience, it began with my dad, because I listened to my dad. Whether it’s mums, dads, carers or other role models, we need to target the first link in the chain. Part of the Ballet for Veterans project is also breaking down that stereotype, saying well if this guy is doing it, and he has been out on the battlefield, he has seen the best and the worst of life, I don’t think you want to insult that guy… (laughs) . For me, ballet should be represented as an art form without stigma – it’s an art form for everyone.

So these sorts of programs are really powerful in terms of that. And the more we can create surprising environments and projects where people never thought ballet could encroach on, like Dance for Parkinson’s, Dance for Veterans, Dance for Brain Injury, it breaks it down because it’s like – wow, this is an interesting space. People can see it as relevant, as beneficial, and in a way they’ve never thought about it before.

Words Cassandra Houghton

Matthew Lawrence Australian Male Dance Ambassador/QB Ballet Master

STORYTELLER

Rich storytelling lies at the heart of Cathy Marston’s choreography. With English-teacher parents and an education at Cambridge and the Royal Ballet School, the award-winning British choreographer is renowned for creating ballets with unique perspectives, inspired by literature. Her repertoire reads like a library: Jane Eyre, Of Mice and Men, Lady Chatterley’s Lover, Hamlet, Wuthering Heights, and Dangerous Liaisons to name just a few, performed by some of the world’s best ballet companies: The Royal Ballet, American Ballet Theatre, Houston Ballet, Northern Ballet plus many more. Before she begins a new artistic directorship with Ballett Zürich mid-2023, Cathy will add the Australian classic novel My Brilliant Career, by Stella Maria ‘Miles Franklin’ to the list, performed by Queensland Ballet as part of the Trilogy triple bill. Here, Cathy shares insight into how she’s approaching this much-loved story about the Australian spirit.

Congratulations on your upcoming directorship of Ballett Zürich! Is My Brilliant Career the last freelance piece you are working on before embarking on this new role in 2023?

Thank you! And yes, I’ll be starting at Ballett Zürich pretty soon after I’m in Queensland, so it’s good timing for Queensland Ballet!

My Brilliant Career is a classic piece of Australian literature, loosely based on the life of renowned author Stella Maria ‘Miles Franklin’. What drew you to this book and what was your first impression upon reading it?

I was visiting my parents-in-law in NSW with my husband, who is Australian, and nearby where they live is this beautiful bookshop in a vineyard. I was looking through the shelves and it drew my attention. I read it and I think the thing that really popped out to me was the character of Sybylla. She’s just so magnetic, there’s something special about her; more than the plot, it was her character specifically, and some of the other characters as well.

I felt like they would be wonderful things to study in movement.

I proposed the piece to Li (Cunxin), as we had discussed doing an Australian piece in the past, and it took some years, and then more years with Covid-19, and now finally we’re here.

What is your choreographic process? How do you work with companies and dancers to create your works?

I’ll start by finding the story, and most times I work with a dramaturg and mostly this is Edward Kemp, who I have been working with for My Brilliant Career. He and I have made over 20 ballets together over about 20 years. We’ll research and discuss what it is about the story that’s drawing me in, what perspective we want to give, what our interpretation is of it, which character is telling the story, because sometimes I like to turn it upside down. Then we’ll plot it into a kind of ballet script, we’ll work with the composer and the designer, and before I reach the studio the whole thing is there on paper.

The other thing I’ll do is write a list of words for each character that describes their way of moving. I’ll spend the first few days with the dancers just making material, not anchored to a particular scene. I find it much easier to work with the dancers once they’ve got several phrases, a way of walking and standing, a few motifs they can contribute to the scenes. Then we’ll fill in the scenes and, because I’ve got the structure, it’s like colouring in a picture with movement.

Your background is in theatre as well as dance. What other techniques do you use with the dancers to help them embody their characters?

As a rehearsal tool, I’ll often ask the dancers to speak out the duets and trios, so to have those conversations with words at the same time they’re dancing. It’s really useful because it’s not just about ‘oh, we’re falling in love’, but what are you actually saying? It can be challenging for dancers but once you find the tone of voice it is automatically reflected in the body, so it’s worthwhile.

Do your works follow a linear structure?

It can vary. I think in the case of My Brilliant Career it’s pretty linear. There’s usually a hook in terms of how I’m going to tell it or whose perspective it’s from, or what the crux of the story is, or if there are flashbacks, and that will inform the structure.

It sounds like we have a lot to look forward to. Is there anything else you can share with us before the season premiere?

I’ve divided the main character of Sybylla into two people. I think what is so special about her is that she’s got this real inner dialogue. There’s one Sybylla that wants to be liked, she wants to be beautiful, she wants to fit in, and live a comfortable life, and then there’s the other Sybylla who doesn’t care what people think. She wants to make mischief and rebel and go somewhere that she doesn’t know where it will lead to. And they’re in a constant tug of war – their push and pull is really present. This is the challenge I wanted to confront myself with: how can two people play one part equally at the same time? The other characters might see the sweet Sybylla then all of a sudden – flip – and it’s the mischievous Sybylla. I think most people feel like they have two sides or more, I don’t think I’m the only one, so it’s going to be quite a challenge!

What can you tell us about the music and set design? We’re at the beginning of the collaboration with the music so I haven’t heard much of that yet, but in terms of design it has been a really interesting process working with David Fleischer. One of the big challenges was how to interpret the Australian landscape because we wanted to feel it, but not compete with it. David is Australian so he’s been to those places and it has been fascinating to watch how his mind has been translating it. I’m not sure how much I want to give away… but he has come up with a structure that’s very flexible that feels like it comes from an Australian place that I can play with. It’s also about the colour and the qualities of colour that’s part of the language and flavour of Australia.

You’ve spent some time in Australia. What do you enjoy about it?

I was 18 the first time I visited, and I remember thinking it’s a once in a lifetime trip and now of course I’ve been several times. That first time though was really special. I went to the Northern Territory which I absolutely loved, then into Queensland to Port Douglas and the Great Barrier Reef and it was amazing. I have a soft spot for Australia and Australians.

What happens on the day of the premiere?

I keep busy, I write cards, and it’s still always a rush in the end somehow. The card-writing to the dancers takes quite a lot of time, but once you’ve been through a creative process with people, you want to say something at the end.

INTERVIEW

See My Brilliant Career as part of Trilogy in 16-25 June, 2023.

Season Packages available at queenslandballet.com.au

Photos Principal Artist Yanela Piñera Photos by David Kelly Headshot of Cathy Marston by Isak Hoffmeyer

Words by Cassandra Houghton

Cathy Marston Choreographer

INTERVIEW

Designer to the stars

Queensland Ballet Costumier and award-winning fashion designer Bethany Cordwell never expected to find her fashion piece on superstar Beyoncé, let alone her new album artwork. What followed in the months after, was every fashion designer’s dream. We sat down with Beth to hear about her big break and what she is doing next with her career.

Your success hasn’t stopped with Beyoncé. You recently returned from the World of WearableArt Awards in New Zealand where you were a finalist. Can you tell us about your experience?

I’ve recently returned from Wellington New Zealand where I was a finalist in the World of WearableArt (WOW) Awards, the first since Covid-19. This competition is the world’s leading wearable art competition and has been operating for over 30 years, so it was very exciting for me to attend as a finalist. I entered the Avant-Garde section and the Residency Experience Award, both of which I won! The second award means I will be sending my WOW finalist outfit and Warped Observance collection to The Residency Experience Showroom in LA for three months, where it will be on display and available to hire for celebrities and their stylists. I will also travel to LA to see my collection in the showroom, network and connect with other creative people in the industry. I’m hoping to have more exposure with my work through this experience as this showroom has dressed many famous celebrities including Beyoncé, Madonna, Billie Eilish and Dita Von Teese.

Obviously, the last few months have been very exciting for you. Has life changed at all?

Yes, I’ve been very busy - but busy is good. The days have been flying by, and I can’t believe it’s been three months since Beyoncé wore my outfit. It’s so exciting to have so much interest in my work, which has opened so many opportunities for which I am very grateful.

You recently hit the jackpot as a fashion designer, what happened?

Earlier this year, I was contacted by Beyoncé’s styling team asking for my bodysuit. I was in absolute shock. The initial email came through as I was getting ready for what was going to be just another day at work. The lead time was tight, so I couldn’t make a custom bodysuit specific to Beyoncé’s measurements due to time constraints. Thankfully they accepted my existing bodysuit which was sent express to Los Angeles (LA). When Beyoncé released her new album artwork for Renaissance in June, I found out that Beyoncé wore my bodysuit and earrings as part of the album artwork imagery.

You used a unique material for the outfit, can you tell us about this?

When I was working at Officeworks in 2019, I knew I wanted to start making new outfits and I tried to find different materials to work with. I saw document folders that were shiny from the shop lights, and I thought there was potential in this material to create a new texture. So, Beyoncé’s bodysuit is made from 12,000 scales hand-cut from plastic document folders.

That is very innovative and creative. Where does your inspiration come from?

I get inspired by many things, whether that’s everyday items, a new outfit I want to make, or artwork that’s inspiring. I’m really drawn to texture, colour, and interesting silhouettes that kind of transform the body.

What are you working on now?

Since my collection is going to LA for three months, I’m not going to have any current work with me, so I am working towards creating more pieces to have here but also to take over to LA when I visit. I’m planning on creating more corsets like Beyoncé’s – this is a really popular style that I’m hoping other musicians and performers want to buy and wear. There is also a lot more to explore with the texture and technique I created.

You are a Costumier at Queensland Ballet. Is creating for dance different from designing your fashion pieces?

I’ve been with Queensland Ballet for three years, so I’ve learnt the ins and outs of creating costumes for dance. It must be very precise and perfected, so dancers feel as comfortable as possible on stage. To be in a costume workroom, and see that process unfold has been helpful with how I design and create outfits, particularly how they are structured and feel on the body of who is wearing my piece.

Where do you see your future?

Due to Covid-19, the last two years have been quite limiting, so being overseas, in the industry that I want to be part of will really open my outlook. I would love to work overseas, design and continue evolving my creative body of work. I am open to all the opportunities life throws my way.

Find Bethany Cordwell on Instagram @bethanycordwell.creative to follow her fashion journey.

Bethany Cordwell Costumier

Ben Stevenson OBE: a history

Master storyteller, choreographer, legend. As we enjoy our 10th season of our festive family favourite, The Nutcracker, we explore the incredible achievements, choreography, and creativity of the chorographer of our rendition, Ben Stevenson OBE. Not just a renowned choreographer, his links to Queensland Ballet’s Artistic Director Li Cunxin AO stretch back to 1978 when he first met Li in Beijing, China, and offered him the scholarship that would change the path of Li’s life.

QB Artistic Director Li Cunxin AO with Ben Stevenson OBE in 2017

1936–1952

— Born in Portsmouth, England, Stevenson studied dance at the Arts Educational School in London. Upon graduating, he was awarded the prestigious Adeline Genée Gold Medal – the highest award given to a dancer by the Royal Academy of Dancing.

1967–1976

— In 1967 the English National Ballet asked Stevenson to stage his first ballet, the highly successful production of The Sleeping Beauty, starring Dame Margot Fonteyn. One year later, he moved to the U.S., assuming the position of Artistic Director of Harkness Ballet in New York at the invitation of Rebekah Harkness. He choreographed Cinderella for the National Ballet of Washington, D.C in 1970, and joined the company in 1971 as Co-Director with Frederic Franklin.

1976–2003

— In 1976, Stevenson was appointed Artistic Director of Houston Ballet. Over the next 27 years, he would choreograph renowned versions of Swan Lake, Romeo and Juliet, Cinderella, The Nutcracker, The Sleeping Beauty, Coppelia, Don Quixote, and original productions of Peer Gynt, Dracula, The Snow Maiden, and Cleopatra.

In 1978, he was sent to China as part of a cultural delegation from the United States, where he met the young Li Cunxin at Beijing Dance Academy. He would go on to play a key role in Li’s move to the West, offering him one of two scholarships to study in Houston.

1952–1967

— Stevenson joined the Sadler’s Wells Royal Ballet (currently the Royal Ballet), where he learned and performed with some of ballet’s biggest stars, including Sir Frederick Ashton and Sir Kenneth MacMillan. From here, he moved to the London Festival Ballet (English National Ballet), becoming a Principal Artist where he performed leading roles in all the classics.

2003–CURRENT

— In July 2003, Stevenson became Artistic Director of Texas Ballet Theater. Since his arrival, the company has experienced tremendous growth. In 2022, he was named Artistic Director Laureate in recognition of his lengthy tenure.

The Nutcracker is now on at the Playhouse, QPAC. Book now at queenslandballet.com.au

“HE WAS ONE OF THE MOST IMPORTANT PEOPLE IN MY LIFE — RESPONSIBLE FOR MY CAREER — FOR A DANCE CAREER I NEVER DREAMED I COULD HAVE HAD.” – LI CUNXIN

For his contributions to the world of international dance, Stevenson was named an Officer of the Order of the British Empire (O.B.E.) by Queen Elizabeth II in the New Year’s Honors Listed in December 1999. In April 2000 he was presented with the Dance Magazine Award, one of the most prestigious honors on the American dance scene.

ACADEMY

SUMMER SOIRÉE

— When Natalie Weir says an event is going to be special, it’s worth taking note. Immersed in the world of dance for more than 30 years, the award-winning choreographer continues to mesmerize audiences with works described as emotive, captivating, and masterful.

And Summer Soirée – Queensland Ballet Academy’s collaboration with Philip Bacon Galleries, fusing dance, live music, and art - is special, she says.

“Another painting I love is Fire line (2018) – which is beautiful, I’ve never seen anything like it. It must have come from his imagination. I liked the aesthetic and the feeling of emptiness, the isolation, this burning sense of something. It captured me.

“Towards the end, it progresses to Evening (flowers for Nancy) (1993), the most touching of paintings to me, of a mass of flowers. It’s absolutely stunning. The colours, the palette of blues and purples…to me, the flowers speak of life, love, romance, of death, grief, and forgiveness.

“And finally, The Passenger (days end) (2018) – he’s looking at the sunset, perhaps nostalgic, dreaming of the future.

“Tim Storrier is the artist Queensland Ballet Academy is collaborating with this year, and what he paints and what he imagines is like nothing I’ve seen before. It’s powerful and dramatic, and it captures a sense of Australia. And to see that visualised through different choreographers and beautiful dancers and then of course, Camerata – Queensland’s Chamber Orchestra…it’s going to be absolutely stunning.”

Using the Archibald Prize-winning artist’s works for inspiration, Natalie and two other acclaimed choreographers, Paul Boyd and Louise Deleur, will create dance pieces performed by the Academy dancers at the Thomas Dixon Centre’s new Talbot Theatre. The inaugural event in 2021 was a glamorous highlight on the Brisbane arts calendar.

Equally fascinating is Natalie’s creative process for a performance such as this one. Drawing on her vast experience (Natalie was the Artistic Director of Expressions Dance Company; has choreographed works for companies including The Australian Ballet, West Australian Ballet, Dance North, Houston Ballet, Singapore Dance Theatre, and American Ballet Theatre; and is currently Queensland Ballet Resident Choreographer), she usually begins with a narrative. But with Summer Soirée, it begins with the art.

“I was reading up on Tim Storrier and there was something that literally struck me, and it was about how his unusual landscapes are symbolic and emotionally charged…and more concerned with capturing the human psyche than with making a recording of the physical world. And that really resonated with me,” she says.

From Storrier’s vast collection, Natalie narrowed it down to seven paintings for her work, The Voyager.

“The first piece I chose, The covered voyager (2021), depicts a man with a backpack, looking into the distance. It’s quite unusual and I liked the idea of it being based around a man on a journey. Where is he going, and why?” Natalie says.

“So it will be a journey piece; it’s a person passing through a period of emotions. The artworks are so evocative, with the isolation of the open landscapes, the stormy sea, the wreath which is so poignant. They lend themselves to dance, because dance doesn’t have to describe, only suggest.”

With the narrative in place, Natalie turns to the music, working with Artistic Director Brendan Joyce from Camerata to finalise a musical accompaniment that works with her ideas. Then it’s on to the dancers.

“The creative process is one I’ve honed over many years. I don’t choreograph at home or in my head, I get inspired by the people in front of me. It becomes a conversation with the dancer and they’re an equal contributor to the work,” Natalie says.

“I also work with the Costume Department, so you’ve got all these different elements and it’s my job to draw it all together to make a coherent piece that hopefully speaks to and moves people.”

Featuring premiere works by the three choreographers, plus live music, and large-scale art projections plus more, it’s a platform that will appeal to an array of different audiences – not just dancelovers. And in addition to being a one-of-a-kind event for Brisbane, Soirée has been designed as an annual showcase and fundraising production for the Academy dancers.

“To see the talent within the Academy, from the youngest dancers right up to the Pre-Professional Program dancers, and to see how beautifully they have all been trained, it’s such a wonderful showcase,” she says.

“The product itself is amazing, with the different interpretations of the art, and the art projected on the stage. And then, as an audience member to watch that - it’s such a coherent and beautiful evening to witness.

Words by Cassandra Houghton

Natalie Weir

QB Resident Choreographer

In conversation with choreographer, Natalie Weir

Summer Soirée Patrons

Summer Soirée presents a unique opportunity to nurture the futures of Queensland Ballet Academy’s aspiring dancers. As our talented young dancers grow their technical and artistic capabilities at their worldleading home at Kelvin Grove, we are excited to offer them the opportunity to gain crucial, onstage experience, artistry, and professionalism in this truly unique performance, uniting visual arts, dance, and music.

This Soirée, we invite you to be acknowledged as a Soirée Patron through a donation of $1,500 or greater, helping to provide Queensland Ballet Academy with much needed funding to continue to expand our training programs, and inspire and nurture as many young dancers as possible.

Our annual giving program helps us to plan with integrity, so we respectfully ask that contributions to our Summer Soiré e are considered as additional to any regular gifts.

We welcome a conversation with you about your personal support as a Soirée Patron. Please contact us at foundation@queenslandballet. com.au or call 07 3013 6666

QB Forever

— “My introduction to ballet started with my four-year-old daughter wishing to be a cat! Our home was always full of music – it was the ‘60s! Amanda enjoyed moving to music: she crawled, she jumped, she posed by a mirror or against a tree, she made up stories. It was her art form without words. Over time and re-locations, we found she could channel this creativity by attending ballet lessons locally. She loved her classes and demonstrated a talent. Consequently, wherever my geologist husband and the family moved, we searched for a Cecchetti ballet teacher. The joy of dance was encouraged without formal exams. She stayed healthy and became quite disciplined.

The years passed. There was much driving and waiting time for us as parents, as the classes increased. It was fun for the two of us to spend time together. My daughter practised, sometimes with me accompanying her on the piano. She stretched and worked on her steps. We both made good friends. Amazingly, and with perseverance over those many years Amanda graduated from The Australian Ballet School in 1982.

This is what mothers of ballet students do. Talent improves or not, and the art form is accepted as one of your own hobbies.

I tried to see every ballet company that came to town. I loved to watch the technique of the soloists and hear the orchestras

supporting their stories. I was lucky and my wellbeing benefited through the complete relaxation offered by ballet.

When we returned to Australia in 2004, we settled in New Farm and became subscribers to Queensland Ballet and Queensland Symphony Orchestra. My husband had been on the Board of the Australian Ballet and we both felt quite at home with our shared interest. Li Cunxin was appointed as Artistic Director; the company increased its staff at amazing speed. Zoe Connolly was most welcoming to us as newcomers. Rachel Walsh was Principal Artist and her team continued to keep us involved.

This company is inclusive in offering so many Australians the opportunities to see the beauty of dance set to live music. As supporters, we develop a strong sense of pride. There is magic – it is exciting. Yes, it has been wonderful to be a part of the Queensland Ballet family. The Philanthropy team are most helpful and they remember your name!

I do feel proud that I can help to take QB into the future. I have set up a bequest through the Charles Lisner Circle. A percentage of my estate is promised. The management team will decide where to direct these funds. The benefit to me is that I am kept well informed and can participate in the many activities offered by this enthusiastic company of artists.”

Kathleen Nowik

Charles Lisner Circle member

As we rehearse and prepare for a brand new 2023 season, we spoke with one of our visionary donors about the impact of their generosity.

“I am transported from a busy technical world into the world of fantasy,” writes Kathleen Nowik, Charles Lisner Circle member.

Our vision is

continue to share the transformative magic of dance with future generations to enjoy our artistically vibrant and meaningful artform.

Queensland Ballet is built on the foundation of the many lifetimes of passionate people who believe in the value and ability of ballet to enrich lives.

If ballet has brought you great joy in life, have you considered leaving a gift for Queensland Ballet in your will? Join us, as we look to the future with optimism.

Your decision to leave a gift for Queensland Ballet in your will is a powerful legacy for future generations to enjoy the beauty and wonder of ballet in Queensland.

By making a bequest to Queensland Ballet, you help us continue to:

- present world-class productions and collaborations

- provide the best facilities and resources for artists and communities to thrive

- deliver community, health and education programs which offer hope and aspiration for all, across Queensland

- enrich lives through the magic of ballet for generations to come

Gifts left for Queensland Ballet are invested in perpetuity and interest from these funds is used to support our artistic, community and training programs.

By notifying us of your bequest, we are enabled to plan with integrity for future generations to enjoy remarkable ballet experiences and ensure Queensland Ballet’s place in an artistically vibrant community.

Named in honour of our foundation Artistic Director, the Charles Lisner Circle acknowledges those who have made a legacy commitment by including Queensland Ballet in their will, and represents a special group who believe in the ability of ballet to enrich lives. Through intimate and tailored experiences, we are able to celebrate and enrich your personal engagement with the artform during your lifetime.

We warmly welcome the opportunity to start a conversation with you, in confidence about your journey and your role in Queensland Ballet’s history. Your bequest is a powerful and lasting legacy for future generations to enjoy the beauty and wonder of ballet in Queensland.

Please call Tonia Looker in the Foundation team on 07 3013 6660 or email foundation@queenslandballet.com.au

For more information, visit queenslandballet.com.au/support/bequests

rare opportunity of founding an institution which will make a lasting contribution

“I

- Charles Lisner

long after I have gone.”

to

had the

to art and give pleasure to countless millions

The Charles Lisner Circle

Your story is our story.

Experience Mercedes-Benz Brisbane.

With the largest showroom in the Southern Hemisphere and over 100 vehicles on display, Mercedes-Benz Brisbane is your destination for everything Mercedes-Benz.

Located in Newstead’s Breakfast Creek Lifestyle Precinct, you’ll find specialists in every department from Customer Service, New Vehicle Sales, Finance and Service, ready to make your experience easier and more enjoyable.

As part of the LSH Auto International, you can feel confident that you are dealing with one of the world’s largest Mercedes-Benz retailer groups, where you, the customer, come first. Always.

LSH Auto Australia

Mercedes-Benz Brisbane

194 Breakfast Creek Road, Brisbane. Telephone (07) 3251 6666. www.mbbrisbane.com.au | Follow us on Instagram & Facebook.

Largest Showroom in Southern Hemisphere • Complimentary Valet Parking • St Ali Coffee Barista & much more

Queensland

announce our new Presenting Partner, Margot McKinney, for the 2023 Season of Derek Deane’s Strictly Gershwin.

“Margot’s commitment to creating the perfect collection of jewels mirrors our dedication to always pursuing the best.”

Li Cunxin AO, Artistic Director

ARTI ST IC DIRECTOR LI CUNXIN

Ballet is delighted to