Queensland Ballet - Pas Magazine Issue #5 by Queensland Ballet

AMBITION ISSUE #5

MARCH 2021

WELCOME

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

Welcome to the fifth 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 late 2021 —Thomas Dixon Centre, 406 Montague Rd, West End, QLD 4101

QUEENSLAND BALLET

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

Subscribe Season Tickets are the best way to experience the ballet in 2021. Become a Season Ticket Holder and save up to 20% off regular ticket prices. You’ll also receive At The Barre — a fortnightly glimpse into the world of Queensland Ballet. 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 (Left to right) Soloist Vito Bernasconi, Soloist Georgia Swan, First Company Artist Vanessa Morelli, Senior Soloist Alexander Idaszak By Ali Cameron

— We are gratefully optimistic for 2021 as we celebrate our 60th anniversary this year. For those of you who saw our 60th Anniversary Gala this March, I hope you enjoyed taking a journey

/pa/

through the history of our wonderful Company as much as we enjoyed recreating it. And there’s plenty more to come, including The Sleeping Beauty, Dracula,

A step or series of

and our inaugural Academy Summer Soirée.

steps in ballet.

I’ve said it many times now, but I’m so thankful we have the chance to perform onstage once again, when so many companies across the world are yet to return to theatres with a live audience. I know the entire team

IN THIS ISSUE

of QB staff and dancers are looking forward to each production of our 2021 season with great anticipation. In this edition of Pas, you’ll find in-depth interviews with talented Company Artist Daniel Kempson, and our Technical Director, Cameron Goerg, on how to light a ballet; plus a deep dive into our Beyond the

INTERVIEW

COMMUNITY

Li Cunxin 10 questions with QB’s Artistic Director and Mao’s Last Dancer —

Teacher Training Program Heading to the regions —

GALLERY

INTERVIEW

60th Anniversary Gala Behind the Scenes —

Technical Director Cameron Goerg How to light a ballet —

INTERVIEW

ACADEMY

Company Artist Daniel Kempson From Gladstone to Gala —

Lights Camera Action Behind the scenes in Marketing —

ONSTAGE

GALLERY

Australian Creativity Shines at the Thomas Dixon Centre —

The Sleeping Beauty Throwback to 2015 —

Stage offerings and Teacher Training Programs. There’s also an exploration of Thomas Dixon Centre programs, and a chat with the passionate Rachael Walsh, who, since retiring as a Principal Dancer, now leads our ever-important philanthropy team. From all of us to all of you, thank you for engaging with and supporting Queensland Ballet as we burst back into life this year. Enjoy the read, and I’ll see you in the theatre!

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 Former Company Artist Josephine Frick and Company Artist Mali Comlekci By David Kelly

March-May MAINSTAGE

60th Anniversary Gala 5–20 March 2021, Playhouse, QPAC Celebrate with Queensland Ballet as we present an exciting retrospective telling of our evolving story over 60 years, honouring a vibrant history of dance that showcases exciting excerpts from five world-class productions. queenslandballet.com.au/2021/60thanniversary-gala

— ACADEMY

Queensland Ballet Academy School Holiday Programs 6–10 April & 12–16 April 2021 Queensland Ballet Academy, Kelvin Grove Train with Queensland Ballet Academy in Brisbane these school holidays! Our incredible Boys ONLY and Ballerina Preparation Weeks will keep young dancers aged 10–17+ on their toes. Standard Registration $625. queenslandballet.com.au/school-holidayprograms

— FOUNDATION

QB Friends 60th Anniversary Celebration 30 April 2021, evening QB Studios, Beesley St, West End Join us at our West End studios for this very special celebration of our 60th Anniversary Season. An evening filled with memories, stories, and laughter will be enjoyed by all! Become a QB Friend today to enjoy exclusive events like this and more. Visit queenslandballet.com.au/memberships for more information. *This is a ticketed event for QB Friends members.

— ACADEMY

Aspire ‘21 20–22 May 2021 Queensland Ballet Academy, Kelvin Grove State College Be captivated by Queensland Ballet Academy’s Pre-Professional Program dancers as they perform excerpts of Don Quixote’s Matador Suite and Paul Boyd’s Intimate Dialogues in our state-of-the-art studios in Kelvin Grove. Tickets on sale from 7 April 2021. queenslandballet.com.au/aspire2021

— COMMUNITY

Open Company Class– The Sleeping Beauty 12 June 2021, 11am–12.15pm Lyric Theatre, QPAC Experience the magic behind the curtain as you watch Queensland Ballet Company dancers take a preperformance class on-stage, taught by our world class Artistic staff. Also includes a 15-minute Q&A with a Queensland Ballet Artistic or Production Team member. Adult $20; Student $15; Child $10; School/Studio group $125 queenslandballet.com.au/beyondthestage

—

ISSUE #5 MARCH 2021

ISSUE #5

WHAT’S ON

10 questions with Li Cunxin AO

INTERVIEW

Queensland Ballet’s Artistic Director chats about beautiful Brisbane, the labour of love of dumpling-making, and turning 60 alongside Queensland Ballet’s 60th celebrations Li Cunxin AO Artistic Director

What’s an element of your job people wouldn’t know about?

What did you think of Mary’s new book, Mary’s Last Dance?

One of the most-respected people in my life, my former ballet director Ben Stevenson, said something a long time ago when I was in my early 20s, and at the time I didn’t quite understand what he meant. He said people expected him to be not only the director, not only the dreamer or visionary, not only the leader, or there to inspire or motivate, but he also had to be the parent or father to the Company, to play that nurturing, mentoring role. I think I understand what he’s talking about now! (laughs)

Oh I loved it. I get quite emotional reading it, and I think she did a really good job. Ever since the publication of my book in 2003 readers have been bombarding my publisher, wanting to read Mary’s side of the story, but for all these years she has said no. A big part of Mary’s story is about the sacrifice of her career for our daughter Sophie, and the journey they went on with Sophie’s deafness, so she feels it’s their story together and she would only write it if Sophie wanted to share it. Sophie was the one who encouraged Mary to write it, and I’m very pleased she did because the response has been truly phenomenal – it’s officially a best-seller – number seven!

Favourite QB ballet production?

QUEENSLAND BALLET

It’s too hard for me to choose – there are so many favourites… Nutcracker, Swan Lake, Cinderella, Sir Kenneth MacMillan’s Romeo & Juliet, Derek Deane’s Strictly Gershwin, Greg Horsman’s Coppelia… there are too many, and that’s just some of the full-length ballets that are pretty spectacular. I also love Bespoke and our contemporary offerings. And not just Bespoke, but new works, because they’re original creations. It’s like a blank canvas and you can paint whatever you want, you can draw whatever you want, you can make shapes, you can tell stories, you can allow your imagination to go as far as you want it to.

Any passions outside ballet? AFL is one – as soon as you move to Victoria you’ve got to belong to an AFL club, otherwise you can’t start conversations (laughs). Everywhere we went, sooner or later, the question would arise ‘which club do you belong to?’ And if you say you’ve got no club, you’re in trouble. But I also love tennis, and I’ve started to enjoy rugby league since I moved to Queensland – it’s a brilliant game, so physical, so skilful. Actually Mary (Li’s wife) recently said to me ‘I don’t think there’s one sport you don’t like’, which is so true! I love basketball, I love American football, swimming, cricket. I do love sports.

Dumpling-making is one of your skills: it’s so much hard work. What do you get out of it, and enjoy about it? Making dumplings holds such a special place in my life. I grew up with dumplings, it’s closely associated with my mother, with love. Truly it’s a labour of love – if you don’t love someone, don’t make dumplings for them because it’s too much work! They are also special because you can’t have them every day. When I grew up, we would only have them on special occasions – Chinese New Year, New Year’s Eve, or for very special guests. When I came home from Beijing in the early years, my mother would make me a very small bowl of dumplings to welcome me home, that nobody else could touch, so it was those kinds of special occasions. And when I make them today for patrons, for donors, for friends, for family, I still remember my mother’s voice in my mind, her instructions, and her storytelling about dumplings. Also, dumplings are happy food – they make people happy.

Chinese New Year – do you celebrate it?

Words Cassandra Houghton Photos Right: Li Cunxin by Ali Cameron

I do, but unfortunately it rarely falls on a weekend so there’s not much scope to celebrate. The Chinese New Year is a minimum three-day affair, but most times it’s a 15-day celebration so normally in China, people have at least two weeks’ holiday to celebrate – it’s enormous. Occasionally if it’s on a weekend I’ll sometimes visit my brother or brothers in Melbourne, or sometimes they’ll come to me if they’re in the country.

Will you ever write another book? Actually before I accepted this job at Queensland Ballet I was on the verge of writing my next book. It had to be put on hold as I realised what an enormous amount of work it would be taking the Company to the next level. So that project is still on hold…

You’ve travelled the world – what do you love about Brisbane? There’s a lot. Obviously the weather is beautiful, and I love the space and the natural beauty with the water meandering through the city. I love the people – I find Queensland people are very hospitable, very sincere, very down to earth. We’re spoilt for beaches and mountains, and I think it’s still vastly underappreciated and relatively unexplored by many people – the natural beauty that Queensland has to offer. I also feel like Queensland is a state full of possibilities and potential, so I’m excited by that, and obviously Queensland Ballet is in that same exciting potential and possibility space.

Favourite Australian holiday destination? I love Noosa, I love Coolangatta, Hamilton Island, Straddie, Port Douglas…there are so many. I also like Mornington Peninsula, the wineries down there, as well as in South Australia – so many fabulous destinations. I also like what Jude Turner has done with Spicers Retreats – they are pretty spectacular and each of her properties are very unique.

You celebrated your 60th birthday this year (serendipitously along with Queensland Ballet’s 60th anniversary celebrations) – how do you stay motivated? For me it’s really – I think life’s too short. And I want to make every day of my life as full as possible, and I want to really live my life to make a positive difference. I guess if one doesn’t be careful, your life can disappear so quickly without a trace, without leaving any imprint in our society, and I’d like to be able to say, when my life is all said and done, that I didn’t waste it and I lived with enthusiasm, with positivity, with a sense of success and that I’ve made a difference in people’s lives or a difference to society as a whole. So I think that’s what motivates me on a daily basis: not conforming to mediocrity. It’s easy to say well I’ve done it, I’ve done more than other people, I can stop now. But I just think life’s too short, and I’d like to make as much of a contribution as I possibly can in my lifetime.

— To read more about Li Cunxin, Mao’s Last Dancer, visit queenslandballet.com.au/company/team/artistic-director

ISSUE #5 MARCH 2021

I’D LIKE TO MAKE AS MUCH OF A CONTRIBUTION AS I POSSIBLY CAN IN MY LIFETIME

Photos Left: Principal Artist Yanela Piñera and Soloist Patricio Reve by Tamara Hanton Right: Photos by Ali Cameron

BEHIND THE SCENES 60th Anniversary Gala rehearsals

QUEENSLAND BALLET

Beesley St, West End Studios, 2020–2021

ISSUE #5 MARCH 2021 — 60th Anniversary Gala is now showing at QPAC from 5–20 March. For ticket information visit queenslandballet.com.au.

INTERVIEW Daniel Kempson Company Artist

Golden opportunity

QUEENSLAND BALLET

From dreaming in regional Queensland to touring it: how Company Artist Daniel Kempson’s career has come full circle

Words Ellen Gilroy Photo Company Artist Daniel Kempson by David Kelly

— When Daniel Kempson watched from side-stage as international guest artists Carlos Acosta, Steven McRae and Tamara Rojo performed with Queensland Ballet (QB) in 2014, he told himself one day he would be on stage, performing with the stars himself. Fast-forward six years and Daniel is front and centre stage as Company Artist for QB, preparing for Season 2021’s shows, including the highly anticipated 60th Anniversary Gala. Performing on the world’s stage seemed like a faraway dream for a young boy growing up in regional Queensland. But at the age of 16, one successful audition in Gladstone set him on a path toward a professional ballet career with no turning back. “My teachers in Gladstone told me I had to make a decision, whether I was going to take ballet seriously and pursue it as a career, or not,” says Daniel. “I decided to bite the bullet and I haven’t looked back.” When he got the news he had successfully auditioned for a place in the Queensland Dance School of Excellence (QDSE) and would be moving to Brisbane, it was the start of an adventure of a lifetime. “Moving to Brisbane was scary, but the good type of scary. I was nervous but it was an opportunity I knew I couldn’t pass up. It made me step out of my comfort zone and grow as an artist. “Moving from the country to the big city felt like the scene in the movies where the kid moves to New York City and everything is new and the possibilities are endless,” says Daniel. “I was one of only three boys that took ballet lessons in Gladstone, so coming to Brisbane and realising how many boys were also pursuing ballet was a real eye-opener. I was no longer the only boy in class with the teacher’s attention on me, I had to prove my worth.” “It also made me feel like I was part of something. I now had other guys in class who knew exactly what I was going through and could relate to.” Having an unconventionally late start to the artform, at 11-years of age, Daniel’s formal introduction to ballet began after a trip to Sydney to watch Billy Elliot live. It was a defining moment, and on return to Gladstone, Daniel ventured to the Wendy Barker Dance Studio (now called Adagio School of Dance) to find out for himself what dancing was all about. Initially disinterested in the art of ballet and the thought of wearing a tutu (something he’s since realised is not worn by ballerinos), Daniel instead opted for tap shoes. Despite his love for jazz numbers, he couldn’t fool his teachers, who knew immediately that he was destined for ballet. “One year later, I was training ballet full-time in Gladstone. From 3:30pm in the afternoon to 9:00pm at night, I was in the studio dancing.”

After moving to Brisbane, Daniel quickly rose through the ranks and from QDSE, he joined the Pre-Professional Program (PPP) at the QB Academy for two years before successfully auditioning to become a Jette Parker Young Artist within the QB Company. “Being in the PPP didn’t feel like your normal training program. We were so close and so involved with the Company that you felt you were part of something special,” says Daniel. “We were involved in Company productions, mentored by Artistic and Academy staff, and had our own performances. By the time my experience as a PPP was over, I was ready to be part of the Company.” Having solidified his place within QB as Company Artist in 2018, Daniel has travelled nationally and internationally, performing in London and China in theatres thousands of miles away from the small studios in rural Queensland where his journey all began. “When I first started ballet, I used to travel far-andwide across remote towns, from Biloela all the way up to Rockhampton just so I could participate in eisteddfods and auditions,” says Daniel. “I was one of two students in the PPP selected to go on tour to London with the Company in 2014. It was such a surreal and unforgettable experience that I’ll treasure forever.” Such opportunities for students in regional Queensland aren’t as abundant as those in cities, but Daniel took every single opportunity available to dance and recalls a childhood of music and movement. “From a young age, I remember dancing. There was always music in the house. When I was three-years-old I used to climb up to the stereo to listen to the music and tap my feet along to the rhythm.” “Dance taught me to not be afraid of who I am.” Daniel’s journey from rural Queensland to the world’s stage will come full-circle this year when the Company tours to his hometown of Gladstone for Tutus on Tour, hopeful to inspire the next dancer to follow their passion. “If you are dreaming of a career as an artist, you have to take every opportunity. If you don’t take the shot you will never know where it leads,” says Daniel. “I told myself I would do my best and see where it takes me.”

— To see Daniel in our 2021 Season, visit queenslandballet.com.au/2021

ISSUE #5 MARCH 2021

ENGAGE

AUSTRALIAN CREATIVITY SHINES AT THE THOMAS DIXON CENTRE

QUEENSLAND BALLET

— Brisbane and interstate dance and music collaborations, towering greenery sculptures from Sydney and a carpet art installation with Indigenous influences: there’s a theme running through the redeveloped Thomas Dixon Centre and it’s distinctly Australian.

Words by Cassandra Houghton Photo Queensland Ballet dancers by David Kelly

— The opening of Brisbane’s new performing arts centre in late 2021 offers home company Queensland Ballet an exciting new opportunity to explore, promote, and celebrate Australian art in our West End space. Providing a sacred space for emerging and established artists across all artforms, the art created and performed at the Thomas Dixon Centre will be diverse, born of collaboration and connection, and deeply respectful of First Nations’ culture. Thomas Dixon Centre Head of Programming Sarah Boon says Queensland Ballet’s (QB) commitment to Australian art was front of mind. “Supporting Australian artists and arts workers is fundamental to the present and future of the creative

industries sector in Queensland and something QB sees as an underpinning philosophy to the organisation,” she says. “By continuing to support the engagement of Australian artists at QB – dancers, dramaturgs, choreographers, set designers, the list goes on – we continue to support innovation and growth in the creative industries sector and development of our creative talent, while also respecting our heritage. “It’s important to remember that we are not only supporting our Australian artists and audiences but also investing in developing a creative society.” One commissioned art piece is by Aboriginal artist Judy Watson, whose stunning ‘story-teller’ carpets feature images of baler and pipi shells, casuarina branches and bunya leaves fused with ‘listening springs’ and seeds and local birds’ feathers, interwoven with tulle and fabricated feather from the Queensland Ballet costume department. Another by New South Wales-based artist Jamie North is titled ‘Ensemble’, and comprises a trilogy of tall, dynamic columns gracing the forecourt of the Thomas Dixon Centre. Made from slag, a by-product of iron, the industrial looking columns then cascade with lush, native Queensland plant life. The thread of Australian creativity weaves through to the theatre, too. QB’s procured Australia Council for the Arts Major Performing Arts (MPA) Collaborative Arts Projects grant has resulted in three new short-form Australian dance works and three new Australian compositions for 2021. Greater than the sum of their parts, these three performance art pieces will be richer in content and execution for having diverse creative input. Each work reflects the unique artistic practice of its creative team and performance artists. First Nations choreographer Daniel Riley who hails from the Wiradjuri nation of Western NSW, is a QUT graduate, choreographer, dancer, teacher and producer and current Creative Associate at ILBIJERRI Theatre Company. His creative credits include choreography for Bangarra Dance Theatre and Sydney Dance Company. His piece for QB’s 2021 Bespoke incorporates a collaboration with James Henry – a Melbournebased composer and sound designer who writes various blends of traditional Aboriginal and contemporary genres. Meanwhile Australasian Dance Collective (ADC) Artistic Director Amy Hollingsworth (a long-standing collaborator with QB) will premiere her collaboration with QB and awardwinning Australian musician Katie Noonan as a short film, scheduled to be part of the Thomas Dixon Centre’s opening celebrations. Noonan will be arranging a selection of her music with performers from Brisbane’s Aboriginal Centre for the Performing Arts. Complementing these works are pieces for QB’s Bespoke season by respected Australian choreographers, including Natalie Weir, Daniel Riley, and Rani Luther, whose piece From. To. Here features a score by Australian composer Robert Davidson, performed by Camerata – Queensland’s Chamber Orchestra. The QB Ballet Mistress and Creative Associate/ Choreographer/Bespoke Facilitator says she was immediately drawn to his sounds when she was seeking music for her dance piece. “His music took me on a journey which is exactly what I was looking for in my piece From. To. Here. It has a flowing, epic beauty with tinges of longing and hope at the same time,” Rani says. “With his many years of experience, I found him in person to be so wise and kind and very generous with his ideas and spirit. I am so happy I chose to collaborate with him, as the score has far exceeded my expectations.” The intention of the MPA collaborations was to bring together the energy and creativity of small to medium and independent artists. Artists have been chosen for the collective benefit of all of the people and communities of Queensland. With the new Thomas Dixon Centre as a cultural hub, getting artists together within and across arts forms and arts sectors helps build networks and structure for creativity. This gives fire to energy and opportunity to share information and skills, and from that, magic unfolds.

— For more information on the Thomas Dixon Centre visit queenslandballet.com.au/company/our-homes/Thomas-dixon-centre

BEYOND THE STAGE EXPERIENCES Designed for all ages from two to 102, our Beyond the Stage experiences include special workshops, behind-the-scenes explorations, and Q&A sessions.

EXPLORE

Open Company Class Witness the power and athleticism of the QB Company dancers as they take their daily ballet class on-stage taught by QB’s world class Artistic staff in preparation for an upcoming performance. Open company class also includes a 15-minute Q&A with a QB Artistic or Production Team member. — Centre Stage

— Children’s Pre-Performance Workshops Create a lasting memory for your youngest ballet fan as they participate in movement-based storytelling to deepen their understanding of the narrative of the production they are about to see. Preperformance workshops are led by expert QB Education Teaching Artists and are 30 minutes in duration. A parent/carer must accompany their child throughout the duration of the workshop. There is one thirty-minute workshop prior to each performance except for Tuesday 14 September, 6.30pm performance. — Masterclass

— Have you ever stepped out onto a grand stage? We all know the feeling of being in a theatre: the low buzz of anticipation, heels and sequin shawls, orchestra tuning, velvet chairs, soft carpets and dimmed lighting. But to walk through a stage door, through that red curtain, onto a stage and look out to the sea of seating, is an entirely otherworldly experience. Now senior dance-lovers will have that magical opportunity with QB’s new Centre Stage experience. “It’s a unique experience that allows the participants to embody the perspective that our dancers have when performing for our audiences,” says QB Participation and Youth Engagement Specialist Joseph Stewart. “Participants come in and have that true behind-the-scenes component of going through stage door and walking past the

dressing rooms, walking onto the stage, and then one of our Education Teaching Artists leads them through a repertoirebased ballet class. They’ll learn actual repertoire from that performance and then go and watch that performance at the matinee session, along with a light morning tea and an informative Q&A with a member of QB’s Artistic team.” He says there’s a myriad of reactions from people who walk onto a QPAC stage for the first time, but the overriding one is of pure awe.

— To book your Beyond the Stage experience visit queenslandballet.com.au/beyondthestage

Excel your contemporary and classical technique under the expert guidance of QB’s Artistic Team and industry choreographers in this series of masterclasses. This experience involves one ballet and one contemporary class with each series being 3 hours in duration. We encourage you to attend both Series 1 and Series 2, as we will announce different and exciting world class teachers for each Series. — Adult Active adults who have dance experience are invited to learn choreographic repertoire from a leading industry choreographer in this 1.5hr masterclass.

ISSUE #5 MARCH 2021

Take centre stage and enjoy the limelight as you experience ballet class on stage led by expert QB Teaching Artists. Relish in the benefits ballet offers you whilst learning key repertoire from QB productions. This experience features a Q&A with a member from QB’s Artistic or Production team, light refreshments and access to view QB Company Dancers take their daily ballet class.

ENGAGE

QUEENSLAND BALLET

Teacher Training program goes regional No matter your age, background, or physical abilities, ballet is an artform that can be enjoyed by all. Queensland Ballet’s Community Engagement team are dedicated to making their Ballet for Seniors classes accessible to older adults across Australia and have begun implementing their Ballet for Seniors Teacher Training workshops in regional Queensland.

Words by Chelsea Clark Photo By Ali Cameron

— Designed to encourage active older adults to participate in ballet classes, the Ballet for Seniors program was first delivered at the Thomas Dixon Centre in 2015. The classes focus on improving poise, core strength, memory, and ability, and are an excellent way for senior members of the community to return to dancing, or to take it up as a hobby for the first time. In 2017, the class was the subject of research with Queensland University of Technology (QUT) with a report finding that participating in regular ballet classes can contribute to feeling social, emotional and physical wellbeing. Ballet for Seniors has grown significantly in the last five years, and now Queensland Ballet’s Community Engagement team have recently embarked on a tour that will equip teachers with the necessary skills and resources to implement the classes in regional Queensland. Genevieve Dunn, Head of Queensland Ballet’s Community Engagement team, said the decision to expand the program to the regions was informed by the classes’ rising popularity at their Brisbane studios. “We saw an opportunity and need to build capacity through upskilling more teachers across regional communities, so that seniors living in regional or remote areas could enjoy the same benefits of regular ballet classes, just like their counterparts in Brisbane,” said Genevieve. Made possible through the support of John T Reid Charitable Trusts, the first Ballet for Seniors Teacher Training workshops were held on the Gold Coast, Mackay, Hervey Bay and Cairns during January and February this year. They provided supporting teacher resources, practical skill development and knowledge sharing, so participants could implement the program into their local communities. “While there were many locations to select from, these regional locations were chosen as they typically have a larger population of older adults, are central to surrounding communities and have an existing strong dance community,” says Genevieve.

Those who attended the workshops range from dance studio teachers and educators to allied health professionals and community organisations. Over two days, the participants were led through a series of knowledge and practical sessions, facilitated by Queensland Ballet Teaching Artists. Hervey Bay studio owner and dance class teacher, Tina Sparks, undertook the QB Teacher Training program in January. “We started delivering the QB Ballet for Seniors class two weeks after the QB Teacher Training and the response has been wonderful. Everyone enjoys how the class makes them feel. They have raved to their friends and brought them along to the class too,” she says. “It was so special to connect with dance teachers in Mackay and share the tools and knowledge to enable them to deliver Ballet for Seniors in their community,” said Martha Godber, Queensland Ballet’s Education Manager. One aspect that the classes focus on is the adaptations that must be considered when teaching ballet to older citizens. Genevieve says that the older population has a diverse range of abilities and experiences, therefore teachers need to have the skills to adapt and optimise participation for every dancer in their Ballet for Seniors class. After a successful first round of teaching workshops, Queensland Ballet is confident that the Ballet for Seniors teacher training will provide access to ballet at a greater capacity and improve the lives of older adults across Australia and beyond. “Through upskilling an ‘army’ of passionate, skilled and connected teaching artists to deliver local classes, we feel confident the program will continue to enrich lives,” said Genevieve.

— To find out more information about this exciting training program visit queenslandballet.com.au/learninghub

FROM BALLERINA TO ENABLER — Rachael Walsh’s lifelong devotion to Queensland Ballet.

ENGAGE Rachael Walsh Head of Foundation

ISSUE #5 MARCH 2021

— Rachael Walsh’s story with Queensland Ballet began long before she started her professional dance career. At the age of seven, she attended her first ballet performance – Queensland Ballet’s A Midsummer Night’s Dream at the Sir Robert Helpmann Theatre in her hometown of Mount Gambier, South Australia. “I remember thinking, ‘wow! This is so beautiful!’ I loved the idea of expressing yourself through dance,” Rachael recalls. She never would have anticipated that 10 years later, she would be onstage with the Company. After graduating from the Australian Ballet School, Rachael joined Queensland Ballet as a dancer in 1998, the same year François Klaus was appointed as Artistic Director. “My career started with such gratitude for François, for seeing talent and for seeing something in me. It was a small company, and there was a lot of opportunity to develop and explore our artistry, technique, and really step up early,” she says. When she was promoted to Principal Artist in 2003, she flourished. Over the course of her luminous 16-year career, Rachael performed in some of Queensland Ballet’s most beloved productions, including Cloudland, Romeo and Juliet, The Little Mermaid, A Streetcar Named Desire and Carmen; toured both nationally and internationally; and choreographed some of her own original works. But most significant of all, it was during those 16 years that Rachael developed a passionate, undeniable love for not only ballet as an artform, but the ballet company she considered her family. “There was never one time in my whole career [at Queensland Ballet] that my inspiration plateaued,” says Rachael. “I think for me, creating a story or character was what made the journey so special - I wasn’t so much driven by technique alone, but I think it was the enriched stories that kept me engaged every year.” Li Cunxin AO was appointed as Artistic Director in 2013, and when Rachael retired from the stage in mid-2014, she knew she wanted to play a role in further developing QB on the world stage. “I was [at] the end of my career, but I was very inspired to be a part of this period and continue to invigorate not only the company, but the Brisbane community,” she says.

“It was an absolute privilege to stay with Queensland Ballet... It was a chance for me to somehow contribute to the future success of the Company.” That contribution manifested in the form of philanthropy. Under the guidance of her mentor Dilshani Weerasinghe, now Queensland Ballet’s Executive Director, Rachael joined the business team. In 2020 she was appointed to Head of Foundation, where she now leads her team of ‘enablers.’ “When there are dreams and ambitions for the Company, we share that vision with people who will support and enable that vision,” she says. Alongside ticketing, government support, and corporate partnerships, Rachael says philanthropy plays a heavy role in sustaining the longevity of the Company. “Philanthropy under-pins everything we do. It is because of the generosity of our supporters that Queensland Ballet is able to be the company it dreams of, not the company we have to be,” says Rachael. “I love nothing more than getting to know our supporters and being able to share stories with them.” While it has been quite a few years since she officially hung up her pointe shoes, Rachael is never far from the stage. Since retiring, she has made guest performances during some of Queensland Ballet’s most celebrated productions, including Derek Deane’s Strictly Gershwin in 2016, and Liam Scarlett’s Dangerous Liaisons in 2019. In preparation for the 60th Anniversary Gala this year, Rachael was asked by Li Cunxin to assist the dancers with learning the choreography for François Klaus’ Cloudland Pas de Deux. “I loved every moment of sharing this Pas de Deux with our dancers...I have seen four couples rehearse the piece now, and each have brought their own unique voice to it. It is pure magic,” she says. Cloudland is a production that has a special place in Rachael’s heart. The role of Christine was created uniquely for her, and up until now, she is the only dancer to have ever performed the role onstage. “It is one of the most special pas de deux I have danced. It is so simple, honest and so elegant,” she says. Queensland Ballet has evolved significantly since Rachael joined the Company in 1998, and her devotion to the Company has never wavered. “During my time [dancing] with Queensland Ballet, it was such a beautiful family to be a part of, and I think that continues today,” she says. “I really do believe Queensland Ballet is a world class company, and I am thrilled to be able to do my part to help it shine.”

Words by Chelsea Clark Photo Rachael Walsh by Harold David

QUEENSLAND BALLET

INTERVIEW

Trip the light fantastic

Cameron Goerg Queensland Ballet Technical Director

Queensland Ballet Technical Director Cameron Goerg on how to light a ballet

“You put it onstage, trying to get as much detail in there as possible, and then there’s a technical rehearsal with the dancers onstage where you step through the show. And it’s like you’re presenting the first draft of your novel to the world. You spend the whole time problem-solving… because you’re lighting other people’s work and you can turn it from lush, velvet love to mud really easily by using the wrong colour. “For Swan Lake, for example, it’s about making sure it’s lit evenly across the floor because the dancers are wearing a 1.2 metre white disc and white pointe shoes and a white headpiece – it’s one of the most unforgiving shows because if there’s any inconsistency in the white, you’ll see it.” Music and mood are other things to consider. “Every movement, every beat of music needs to be considered. And is it morning, or midday, or dusk, or midnight? There are mood shifts, and the score, and if it’s a fairytale ballet it needs to be a fruity, bright and colourful experience. If it’s a tragedy like Romeo & Juliet, the tone and the intensity of the scenes can shift. “And do the sets move? How do you create a consistent backlight if there’s something else in the way? You’re also tracking the dancers’ movements, and there are backdrops flying in, and scene changes,” Cameron says. But the job is creative, too, particularly in the contemporary field. “Bespoke (QB’s annual contemporary season) is a playground, it’s a passion project for sure,” he says. “The freedom I was given by Li (Cunxin) and QB when Amy Hollingsworth, who was our Creative Associate at the time, asked me to come onboard was incredible, because it was literally ‘let’s see what we can do’. “But I still also love relighting. I love getting into someone else’s head and then trying to recreate that. But also then trying to replicate that on tour is unforgiving and arduous because you’re trying to make things happen in often less than ideal circumstances. But I get energy and motivation from it because it’s that lateral thinking and problem-solving that my brain does quite well.”

ISSUE #5 MARCH 2021

— Eight to 12 hours. 16 if he’s lucky. That’s all the time QB Technical Director Cameron Goerg has in the theatre to design lighting for a ballet production that has been months in the making. Highlighting the dancers’ movements, costumes, the set designs and the music, each element of the show relies on its precision. “The lighting designer has to create a world within the world. The set designer shapes the world physically but it’s the lighting designer’s job to illuminate everything and make sure the performance stands out,” Cameron says. “For something like Cinderella, there are 400-plus lights; Romeo & Juliet has 13 lighting bars in it, so there’s lots of light and lots of power. I pre-plan as much as I can, knowing it will change because until you get into the theatre there’s always an element of the unknown – and of discovery, as well.” It has been more than a decade since Cameron joined the Company full-time and he has a portfolio of grand productions to show for it, including Swan Lake, La Fille Mal Gardée , The Sleeping Beauty, and all three seasons of Bespoke. Originally from Rockhampton, he completed a Bachelor of Theatre Arts in Toowoomba before working in his hometown theatre, the Pilbeam Theatre. However, it all began much earlier, with music. “That’s how it started. From a toddler, I had an innate interest in music, and I played in the orchestra at school - piano, flute, piccolo, sax…music was my way in. And then one year, onstage in the theatre I thought yeah, ok, they’re having way more fun over there (gestures behind),” he laughs. “After uni I volunteered at the theatre in Rocky, and that’s the amazing thing about living in a regional centre – everyone comes to you. We had all the state and national companies tour – Queensland Theatre, Opera Australia, La Boite Theatre, Sydney Dance Company, Australian Ballet and Queensland Ballet, and you get that exposure.” His relationship with QB really kicked off when the company began a tour with a production week at the Pilbeam Theatre. The following year they asked Cameron to go on the Carmen tour with them - and the rest is history. Speaking of the past – historically, the lighting designer tends to be of the last creatives engaged in the production, partly due to the expense of working in the actual theatre space. “The choreographers, set and costume designers spend months honing their work, but the lighting designer does it all in their head and then they have a couple of days usually to create their vision,” he says.

Words Cassandra Houghton

— See Cameron’s work in our 2021 Season: for ticket information visit queenslandballet.com.au

Photo Loughlan Prior’s The Appearance of Colour, Bespoke 2019 by David Kelly

CAMERA

LIGHTS

QUEENSLAND BALLET

ACADEMY

Words Courtney Adams Behind the scenes photography Daniel Anderson Hero photography David Kelly Hero creative direction Andy Geppert Special thanks Christian Tátchev Paul Boyd Nicola Pierrepont Lisa Summer-Hayes Nathan C. Joshua F. Taron G . Taylor H. Zara I. Jack J. Joseph M. Hana N. Alyssa P. Maeve R. Patrick S. Hugo T.

— Back in December, Queensland Ballet Academy’s largest training and performance space transformed into a photographer’s studio for an afternoon. As David Kelly added the final touches to his canvas, 12 Academy Program dancers shuffled into the studio, warming up their bodies while taking in the setup. They knew they were taking part in a special photo shoot for Queensland Ballet Academy, but not of the specifics of their assignment. “We need to capture this image,” Lisa Summer-Hayes, Queensland Ballet’s Head of Marketing announced while lifting an iPhone to the small crowd of wide, eager eyes. It revealed a sample image of a group of dancers clad in black, leaping in an edgy, contemporary formation against a denim backdrop. Murmurs of anticipation echoed through the space, and with that, the scene was set for the shoot. The concept was developed by Brisbane-based creative, Andy Geppert as the Academy chapter of Queensland Ballet’s new ‘Every Step a Story’ brand platform. It represents a fresh take on classical ballet and training in an academy, celebrating

the joy of dance and showcasing the talent and professionalism of our rising young dancers. The Academy’s Director, Christian Tátchev, and the students’ Head of Program, Paul Boyd, would oversee the shoot to help bring Geppert’s vision to life. From the first click of the shutter, it was clear these student dancers-turned-models were every bit as ambitious as the image they were re-creating. Working tirelessly under the heat of lights, the flash of a camera, and the technical direction imparted by their teachers, the energy of the studio was electric. As each leap became higher, the artistry was further elevated. Wrapping up the experience, we are delighted to share with our readers an exclusive behind the scenes glimpse into the artistic, photographic, and choreographic creativity that coalesced to bring ‘Every Step an Emerging Story’ to fruition.

— Audition expressions of interest for the 2022 intake of the Academy Program and Pre-Professional Program are open! Pre-register at queenslandballet.com.au/2022-academy-auditions.

ISSUE #5 MARCH 2021

ACTION!

QUEENSLAND BALLET

THROWBACK: THE SLEEPING BEAUTY

ISSUE #5 MARCH 2021

Photos Left: Principal Artist Yanela Piñera By David Kelly Top: Former Company Artist Eleanor Freeman By David Kelly Bottom: Soloist Lina Kim and Former Company Artist Jack Lister By David Kelly

— Queensland Ballet first staged Greg Horsman’s stunning production of The Sleeping Beauty in 2015 to much acclaim and the breaking of a box office record. The story of the beautiful princess who sleeps for a hundred years, to be woken by true love’s kiss, is one many grow up with. Horsman’s memories of the ballet stretch back to when he was 12 years-old, watching Rudolf Nureyev himself dance the role of the Prince in London. This year, we bring this fairytale production back to the stage to delight audiences once again.

— Visit queenslandballet.com.au/2021/the-sleeping-beauty for ticket information

Photo Former Company Artist Tonia Looker and First Company Artist David Power in Bespoke marketing image, 2019 By Ali Cameron

queenslandballet.com.au