Impermanence / Forever & Ever Double Bill

Impermanence and Forever & Ever

Sydney Coliseum Theatre

Saturday 26 August 2023

Up Close: Somos

1 – 12 November 2023

Neilson Studio Sydney Dance Company

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Photo by: Pedro Greig

Sydney Dance Company is based in Walsh Bay Sydney. Our Studios are situated on the lands and over the waters of the Gadigal people of the Eora Nation.

Sydney Dance Company acknowledges the Traditional Custodians of these lands and the lands on which we will be touring and performing throughout our National Tour, paying our respects to their Elders and Cultural Custodians and all First Nations peoples.

Welcome to the Impermanence and Forever & Ever double bill shown as part of our 2023 National Tour.

It is both an honour and a delight to bring this unique double bill to Western Sydney audiences just weeks before both works have their international premieres during our 2023 European Tour.

It is always a joy to witness dancers and musicians live onstage together and Rafael Bonachela’s critically acclaimed Impermanence does just that - with spellbinding interplay between the Company and the Australian String Quartet as they bring to life Bryce Dessner’s award-winning score.

Antony Hamilton’s Helpmann Award-winning Forever & Ever fuses a killer mix of dance, techno, fashion and vivid lighting to hypnotic effect, with music from Julian Hamilton, Antony’s brother and one half of the electronic duo The Presets.

We are thrilled to be performing at Sydney Coliseum Theatre for the first time and extend a heartfelt thanks for their support and dedication, in particular for our Western Sydney Youth Intensive and Livestream of

the School Matinee which has shared the joy of contemporary dance with hundreds of young people.

Staging works is an incredibly complex process driven by creativity, passion and hard work. This tour is only possible due to the leadership and dedication of the Sydney Dance Company Board and team, together with the generous support of the government, corporate and philanthropic partners. I would also particularly like to acknowledge the ongoing support of the Australian Government delivered through the Australia Council for the Arts and the NSW Government through Create NSW.

With the unwavering commitment of all of our partners, supporters and those who have invested in our vision, we can continue to share the joy and inspiration of bringing the very best of contemporary dance to local, national and international audiences.

Please join us in celebrating this very special performance, created and performed by Australia’s most formidable artists.

Lou Oppenheim Executive Director

Impermanence

Choreographer Rafael Bonachela

Composer Bryce Dessner

Lighting Designer Damien Cooper

Stage Designer David Fleischer

Costume Designer Aleisa Jelbart

Australian String Quartet

Francesca Hiew - Violin

Tair Khisambeev* - Violin

Christopher Cartlidge - Viola

Michael Dahlenburg - Cello

Impermanence Composition for String Quartet and Electronics by

Bryce Dessner

Before Alarms

Disintegration

Alarms 2

Urgences

Embers

Shards Emergency Impermanence Pulsing

Requiem - Ashes

Another World

Additional Electronics David Chalmain

Another World – song by Anohni with arrangement for live quartet by Bryce Dessner. Use of Anohni’s Another World is with kind permission of Kobalt Music Publishing. Another World is written by Anohni and administered by Kobalt Music Publishing. Recording produced by Anohni, Antony and The Johnsons, Rough Trade 2008, Remote Control Records.

*This artist appears as a guest for this performance of Impermanence.

Impermanence, a work by Rafael Bonachela, featuring Bryce Dessner’s composition, Impermanence, commissioned by Sydney Dance Company and Australian String Quartet (by arrangement with Chester Music Ltd, Wise Music Group)

With generous support from: The Neilson Foundation

Antoinette Albert, Don & Veronica Aldridge, The Berg Family Foundation, Paul Brady & Christine Yip, Jillian Broadbent AC & Olev Rahn, Jane & Andrew Clifford, Manuela Darling, Chum Darvall AM & Sonja Woodwell, Susie Dickson & Martin Dickson AM, Helen Pagnin & Angie Ellis, Bahar Etminan & Herbert Appleroth, John Griffiths & Beth Jackson, Janet & Michael Hayes, Alicia K Kemp, Joan Lyons, Jules Maxwell, In memory of Nola McCullagh, Janet McLachlan, Didy McLaurin, Catriona Mordant AM & Simon Mordant AO, Paris Neilson & Todd Buncombe, Rebel Penfold-Russell OAM & Ian Low, Dominique Robinson, Bernard Ryan & Michael Rowe, Jeanette Sandford-Morgan OAM, Penelope Seidler AM, Ezekiel Solomon AM, Allegra Spender & Mark Capps, Bianca Spender & Sam McGuinness, The Ian Wallace Family Bequest, Kathy White and Carla Zampatti Foundation.

Commissioning Partners: The Concertgebouw (Amsterdam), Araluen Arts Centre, Art House Wyong, Bathurst Memorial Entertainment Centre, Canberra Theatre Centre, Capitol Theatre Tamworth, Civic Theatre (City of Newcastle), Darwin Entertainment Centre, Frankston Arts

Centre, Glasshouse Port Macquarie, Griffith Regional Theatre, Lighthouse Theatre Warrnambool, Mildura Arts Centre, Orange Civic Theatre, Shoalhaven Entertainment Centre, Theatre Royal Hobart & Ulumbarra Theatre (Bendigo Venues & Events).

Impermanence is presented in association with the Australian String Quartet. This project has been assisted by the Australian Government through the Australia Council for the Arts, its arts funding and advisory body.

The ASQ acknowledges musicians Sharon Grigoryan – cello and Rachael Tobin – cello, who have been part of the development and recording of this work.

A note from Artistic Director Rafael Bonachela

What a journey. In 2020, as we were in the theatre in technical rehearsal for the original iteration of Impermanence, the impact of the COVID-19 pandemic became apparent, and a matter of days before opening night, the curtain came down before it had ever been raised.

After the challenges we have all faced, as a nation and as global citizens, it is an enormous privilege to be able to present this work. I am truly delighted that you are here, in a theatre, and watching Sydney Dance Company perform as part of our 2023 National Tour.

Bryce Dessner and I were initially inspired to consider the ephemeral nature of life when we spent time together in Paris in 2019, shortly after the Notre Dame fire. We reflected on how easily things fall apart, even structures we imagine to be eternal, but also the fragility and impermanence of human life, the planet and human relationships. This transience, so fleeting and vulnerable is the perfect subject for live performance and in a post-COVID “new normal”, a work that we created to reflect on vulnerability has added poignancy.

The majority of the score was written towards the end of 2019 when the bushfire crisis overwhelmed Australia. Bryce was deeply affected by what he was seeing; the images of the bush on fire, headline news across the world, permeated his thinking and the work. The personal connection he felt to Australia, to Sydney, to the Company, the dancers, saw beauty germinate from desolation.

As it became apparent towards the end of 2020 that we would, perhaps, be able to perform on stage again, I contacted Bryce to explore extending both his score and my choreography; to create a full-length work that responded to the initial stimulus and to the shattering change to the fabric of our lives that had affected us all.

Bryce has created incredible music. It is full of emotional power; epic, driven, raw and poignant. The choreography takes its cues from these drivers inspired by the questions the music raises for me –

what do we hold dear? How do we make each and every moment count? From devastation, what is the pathway through energy and urgency to peace and radiance?

It has been a real treat to conceive of this work together – to explore the emotional drivers through both dance and music and to arrive at a place where the parts knit together so closely to make the whole. And ironically, to be able to shape Impermanence in response to such unexpected, but life-changing global events. For me, this encapsulates the incredible power of contemporary dance and music and how the response of the artist can truly resonate.

Part of making that whole is of course the Australian String Quartet – working with them to not only realise the work for performance but to actually jointly commission the score has been a joy. I want to thank the wonderful musicians of the Australian String Quartet, Dale Barltrop, Francesca Hiew, Stephen King and Michael Dahlenburg, and guest musician Christopher Cartlidge. Their talent is breathtaking and their passion for this project inspiring. It has been a pleasure to work again with Damien Cooper whose lighting brings so much depth to this work, with designers David Fleischer and Aleisa Jelbart, whose designs in set and costume have captured our world of Impermanence.

My sincere thanks go to all those who have worked on Impermanence, especially the dancers – both those who were part of its inception and those who have helped bring it to life once more. Their tenacity, passion and resilience have brought us to the stage today.

Now more than ever, I realise that we must make the most of every moment, that every moment counts; we must hold tight what we hold dear. I hope that you enjoy every moment of Impermanence.

Rafael Bonachela Artistic Director

About Rafael Bonachela

Rafael Bonachela is a Choreographer, Artistic Director and Curator whose career has seen him successfully span high art and popular culture, working across a range of art forms, including contemporary dance, art installations, pop concerts, musicals, film, commercials and fashion.

Bonachela was born in La Garriga near Barcelona (1972) where he began his early dance training before moving to London to join the legendary Rambert Dance Company where he danced from 1992 to 2004.

In 2008, Rafael premiered his first full-length production 360° for Sydney Dance Company. Less than six months later he was appointed Artistic Director, making international headlines and heralding a new era in Australian contemporary dance. His vision for the Company embraces a guiding principle that sees commissioned dance works by Australian and International choreographers alongside his own critically acclaimed creations.

In 2022, Cartier announced Rafael as a new Friend of the Maison. From his internationally recognised talent as both a dancer and choreographer, to his commitments supporting a new generation of emerging artists and choreographers, Bonachela embodies values cherished by Cartier: strength of character, virtuosity and the ability to find beauty wherever it may lie.

Bonachela’s work is strong, sober and sharp. The exploration of pure movement is where he finds his unmistakable style. The result is an incandescent dance that springs from the power of movement, in which energy and muscle strength combine with a great emotional sensitivity.

You can read more of Rafael’s biography here.

A note from the Composer

Composing for dance is something that has always fascinated me – my sister is a dancer – and the symbiosis of music and movement, each weighted equally, is the most satisfying of collaborations for me. After meeting Rafael and the dancers when I visited Sydney in 2018 and seeing the way Rafael used three tracks from my work Aheym in his 2015 piece Frame of Mind, I was intrigued to work with Sydney Dance Company on a commissioned score and a new work.

Rafael and I met in Paris in the northern summer of 2019 to explore concepts for a new work. Following the Notre-Dame fire, I had been mulling over a number of themes that intrigued me. Living in Paris, I had been deeply shaken as the world-renowned cathedral, the beating heart of the city for over 850 years and the symbol of so much art and humanity, burned and was forever transformed.

The mutability of the structures around us, both tangible and intangible, became central to my thoughts. In the following weeks and months, a catastrophic bushfire season in Australia escalated. Images were beamed around the world on the internet and TV and I was horrified to see the devastation it caused to the bushland, the wildlife, and to people’s homes and livelihoods. Having regularly visited Australia, and spent time in Mallacoota, I was profoundly moved by the images of loss, destruction and panic that were being shared across the world. I was also deeply affected by the beauty that revealed itself in the aftermath –the hope, and the anticipation.

These events, and their impacts, fundamentally shaped the architecture of this work and became pivotal to its development. With just days to go before opening night, the impact of the COVID-19 pandemic became apparent and the scheduled premiere and performances of what had become Impermanence were cancelled. Devastating at so many levels. However, as Australia has worked towards a new COVID-normal, Rafael contacted me to explore extending both my

composition and the choreography, reflecting on both the incredible paradigm shift the world has experienced during the pandemic and how we all have been affected. The fragility of our existence and the vulnerabilities that have been exposed have been compounded, from our relationship to the planet, the climate and the structures around us, to change at a profoundly personal level.

The intimacy of composing chamber music and working with strings is a passion. I am delighted that Sydney Dance Company has joined forces with the Australian String Quartet to commission this work and thrilled that the Quartet will play live on stage with the dancers.

Rafael and I both wanted to end the work with a song. My friend Anohni was delighted to collaborate with us, and I asked if we could adapt her incredibly beautiful song Another World as the closing of Impermanence. Her lyrics encapsulate perfectly everything that Rafael and I sought to achieve with this piece.

“I need another place. Will there be peace? I need another world. This one’s nearly gone.”

Bryce Dessner Composer

Bryce Dessner

Bryce Dessner is a vital and rare force in new music. He has won Grammy Awards as a classical composer and with the band The National, of which he is founding member, guitarist, arranger and co-principal song-writer. He is commissioned to write for the world’s leading ensembles, from Orchestre de Paris to the Los Angeles Philharmonic. Meanwhile he is a high-profile presence in film score composition, with credits including Alejandro González Iñárritu’s The Revenant – for which he was Grammy and Golden Globe nominated, as well as his score for the triple Oscarnominated The Two Popes (Netflix – November 2019) featuring legendary actors Anthony Hopkins and Jonathan Pryce. The breadth and level of Dessner’s creative output is remarkable. Dessner collaborates with some of today’s most creative and respected artists, including Philip Glass, Katia and Marielle Labèque, Paul Simon, Sufjan Stevens, Johnny Greenwood, Bon Iver, Kelley O’Connor, Nico Muhly and Steve Reich, who named Dessner “a major voice of his generation.” His orchestrations can be heard on the new albums of Paul Simon and Bon Iver. In 2015, Rafael Bonachela choreographed his work Frame of Mind to Dessner’s dramatic contemporary classical album Aheym recorded by Kronos Quartet. Frame of Mind went on to win four Helpmann Awards, has toured internationally and was performed live by the Australian String Quartet in Sydney Dance Company’s 2018 reprise of the work.

Bryce Dessner was named one of a collective of eight “extraordinary artists, thinkers and doers” to help steer the artistic leadership of Esa-Pekka Salonen as San Francisco Symphony Orchestra’s new Music Director from September 2020.

Recent major works include Concerto for Two Pianos for Katia and Marielle Labèque, premiered by London Philharmonic Orchestra and recorded for Deutsche Grammophon; Voy a Dormir for Kelley O’Connor and Orchestra of St. Luke’s; Skrik Trio for Steve Reich and Carnegie Hall; the ballet No Tomorrow co-written with Ragnar Kjartansson; and Wires for

Ensemble Intercontemporain. In 2019, Gautier Capuçon premiered a new work by Dessner commissioned by Fondation Louis Vuitton, and Los Angeles Philharmonic premiered Triptych (Eyes for One on Another), a major theatre piece integrating the photographs of Robert Mapplethorpe. New York’s Metropolitan Museum featured a song by Dessner in one of its first contemporary installations. Dessner’s albums include El Chan and St. Carolyn by the Sea on Deutsche Grammophon; Music for Wood and Strings (Brassland records); Aheym commissioned by Kronos Quartet; and When We Are Inhuman by Dessner, Bonnie ‘Prince’ Billy and Eighth Blackbird.

Click to listen to Bryce Dessner on Spotify

Impermanence Creatives

Damien Cooper, Lighting Designer

Isn’t it great to have live musicians onstage? I do love the energy it brings. This on top of Bryce’s intense score, Rafael’s ever climaxing choreography on the full company of dancers. Amazing! Intense! The lighting and scenic design will create a landscape for these highly energised elements to exist within. A dose of simplicity? Purity? I often seek these elements in other aspects of my life - fashion, architecture, design. The simple and pure items always stand out. They bring balance. Enjoy.

Biography

Damien Cooper works internationally across theatre, opera and dance. Damien’s dance credits for Sydney Dance Company include; Ascent, Resound, ab [intra], Impermanence, Cinco, Ocho, Grand, Air and Other Invisible Forces and Orb.

Other dance credits include; State (Western Australian Ballet), Of Earth and Sky (Bangarra), The Narrative of Nothing, Firebird and Swan Lake (Australian Ballet), Giselle (Universal Ballet), Birdbrain, Supernature, Habitus and Be Your Self (Australian Dance Theatre), The Frock (Ten Days on the Island Festival), Affinity (Tas Dance), Mortal Engine (Chunky Move) and Grey Rhino (Performing Lines).

For lighting design, Damien has won three Sydney Theatre Awards, four Green Room Awards, and two Australian Production Design Guild Awards.

David Fleischer, Stage Designer

The design for Impermanence is a pure, abstracted architectural gesture that goes on its own journey throughout the show. At times it operates like a wall, at other times a horizon of a landscape; later, a window to nature, as well as a curtain that may close off that outside world. The set provides a context for the souls that inhabit it in this chaotic and alarming world. The journey the music takes is mirrored by the movement of this single scenic element, amplified by the arresting treatments of light. The purity of the space aims to be in harmony with the clarity and distinction of the string quartet on stage.

Biography

David is a set, costume and production designer working across Australia with leading theatre, dance and opera companies. He has worked extensively with Sydney Theatre Company, Sydney Dance Company, Belvoir St Theatre, as well as Opera Australia, Sydney Chamber Opera, Pinchgut Opera among others. His works have been presented throughout the country as well as internationally. Notable recent productions include Fangirls (Belvoir), The Harp In The South (Sydney Theatre Company) and ab [intra] (Sydney Dance Company).

Aleisa Jelbart, Costume Designer

The costumes for Impermanence were inspired by the music, composed by Bryce Dessner, as well as the vivid imagery of the Australian bushfires at the end of 2019. The score is so layered, with an intensity and a sense of heaviness to it, contrasted by moments of hope, and I wanted the costumes to reflect this. I started by establishing a colour palette, with the idea of using this to find lightness in the work. I avoided using blacks and whites, or any colours that were too strong and would be too intense alongside the music, and instead landed on a palette of muted hues and soft, earthy tones. The softness of these colours also reflects the concept of hope emerging from the intensity, in the same way that the incredible images of rejuvenation followed the devastation of the bushfires.

The simplicity of the dancers’ shorts provided me with a base to work from, giving me the freedom to explore a variety of textures and structures for the top half of the costumes. Using the idea of the fire at the Notre-Dame that initially inspired Bryce’s music, and the architectural elements of the historic cathedral, I have incorporated a mixture of strong lines and draping fabrics. The softness of seeing the dancers’ skin through short-sleeves or splits along the back of a top allow for a sense of vulnerability and connection to the movement happening on stage.

Biography

Aleisa Jelbart is a Sydney based costume and set designer. For Sydney Dance Company Aleisa has designed costumes for Rafael Bonachela’s Lux Tenebris (2016) and Anima (2016), Melanie Lane’s WOOF (2019) and a number of works featured in New Breed (2014–2022). Aleisa was the recipient of the 2016 Berlin New Music Opera Award and the 2014/15 Hephzibah Tintner Fellowship for Production Design. Aleisa specialises in design for movement, dance, cross disciplinary performance and devised work.

Photo by: Pedro Greig

Australian String Quartet

Since 1985, the Australian String Quartet (ASQ) has created unforgettable string quartet performances for audiences around the world. The ASQ is Dale Barltrop (violin), Francesca Hiew (violin), Christopher Cartlidge (viola) and Michael Dahlenburg (cello). Dedicated to musical excellence with a distinctly Australian flavour, we aim to create chemistry and amplify intimacy through experiences that connect people with string quartet repertoire.

From our home base at the University of Adelaide’s Elder Conservatorium of Music, we reach out across the globe to engage people with an outstanding program of performances, workshops, commissions and education projects. Our distinct sound is enhanced by a matched set of 18th century Guadagnini instruments, handcrafted by Giovanni Battista Guadagnini between c.1743 and 1784 in Turin and Piacenza, Italy. These precious instruments are on loan for our exclusive use through the generosity of UKARIA.

ARTISTIC DIRECTORS

Dale Barltrop Violin I

1784 Guadagnini Violin, Turin

Francesca Hiew Violin II

1748-49 Guadagnini Violin, Piacenza

Stephen King Viola

1783 Guadagnini Viola, Turin*

Michael Dahlenburg Cello

c.1743 Guadagnini Violincello, Piacenza

‘Ngeringa’

Australian String Quartet Creatives

Francesca Hiew, Violin

Francesca joined the Australian String Quartet in 2016 after being a full-time member of the Melbourne Symphony Orchestra and a core member of the Melbourne Chamber Orchestra. Highlights from her diverse performance career include playing in front of 10,000 people alongside Bruce Springsteen, recording with friend and fellow violinist Sally Cooper for The X Factor, and sight-reading Ravel’s Duo with Dutch cellist, Pieter Wispelwey, in concert.

Francesca is devoted to fostering future chamber musicians and audiences. She enjoys teaching and has tutored emerging ensembles and violinists across Australia and internationally. Constantly refining her own theories on violin technique (an obsession inherited from her teacher William Hennessy), Francesca believes generosity and the sharing of knowledge can only strengthen our musical communities.

Tair Khisambeev, Violin (Guest)

Having a passion for travel, Tair has worked in many different countries, exploring the diversity of the world’s cultures and the performing arts inherent in every place he visited. Before settling in Melbourne in 2019, he graduated from the Moscow Conservatory, where he studied with Prof. Eduard Grach (violin), Prof. Andrey Shishlov (string quartet), Prof. Alexander Rudin and Prof. Alexander Bonduriansky (chamber ensemble).

For the relatively short period of time spent in Australia since his arrival, Tair has already been deeply integrated into the cultural life of Melbourne and other Australian cities, including as Assistant Concertmaster at the Melbourne Symphony Orchestra, and actively taking part in various music festivals and projects outside the MSO.

Photo by: Pedro Greig

Christopher Cartlidge, Viola

Australian violist Christopher Cartlidge joined the ASQ in 2021, after ten years as a member of the Melbourne Symphony Orchestra where he held the position of Associate Principal Viola. He regularly appears as a guest in orchestras across Australia and New Zealand and as a soloist, Christopher has appeared with both the Melbourne and Tasmanian Symphony Orchestras.

Christopher studied on a full scholarship at the Tasmanian Conservatorium of Music where he studied with Josephine St Leon, and at the Australian National Academy of Music (ANAM). During his studies, he was the recipient of several awards and accolades, including the University of Tasmania’s Director’s Prize, and inclusion on the University of Tasmania’s Dean’s Roll of Excellence. In 2015 he was a grandfinalist and multiple prize-winner in the ABC Symphony Australia Young Performers Awards.

Michael Dahlenburg, Cello

Michael is an Australian cellist, conductor, and educator. His prolific career as a cellist has seen him play in a variety of different musical settings. He was Principal Cellist of Melbourne Chamber Orchestra and has been Guest Principal Cellist with Tasmanian Symphony Orchestra, Queensland Symphony Orchestra, Auckland Philharmonia Orchestra (NZ), and Orchestra Victoria.

Michael was a founding member of the acclaimed Hamer Quartet who won First Prize, Grand Prize, and Audience Prize at the 2009 Asia-Pacific Chamber Competition. As a soloist and chamber musician, Michael has given performances at festivals and concert halls around the world. He has studied chamber music with Gerhard Schulz, Paul Katz, András Kellar, Heime Müller, Barbara Westphal, Hatto Beyerle, William Hennessy and the Artemis, Tokyo and Jerusalem Quartets amongst many others.

Photo by: Pedro Greig

Forever & Ever

Choreography Antony Hamilton

Music Julian Hamilton

Costume Design Paula Levis

Lighting Design Ben Cisterne

Originally commissioned in 2018 with visionary support from the Naomi Milgrom Foundation as Artistic Director’s Commissioning Partner.

A note from choreographer Antony Hamilton

A number of ideas emerged through the creation of this piece in 2018, but the driving dramaturgy became the dancers’ duplication and change over time, expressed in Paula Levis’ costume concept of the babushka doll. The dancers reveal ever new looks under perpetually discarded layers as the piece drives on. I enjoyed making a work that pays homage to the heady world of pop culture, fashion and music, and its rapid pace of change expressed in the simple action of disrobing throughout the dance.

Choreographic phrases were developed with direct relationship to Julian Hamilton’s repeating rhythmic musical bars, both keeping to time and then skipping around the perpetual beat.

The music has served as the steady, driving foundation on which the choreography rides - minimal and emphatic. The choreography in Forever & Ever organises the body into curious formations and pushes the dancers’ abilities with technically challenging material. This kind of technical approach to developing choreography never ceases to fascinate me.

It was a pleasure to create this piece with my collaborators Julian, Paula and Benjamin and the outstanding and dedicated ensemble of dance artists back in 2018. The process of re-staging this work in 2023 has been no less rewarding and the dedication and commitment in the studio of the new ensemble has allowed this work to live and breathe once more.

About Antony Hamilton

Antony Hamilton is Artistic Director and co-CEO of Chunky Move. His work is known for its seamless melding of choreography, sound and visual design, resulting in complete worlds in performance.

Antony has been the recipient of major fellowships from Bangarra Dance Theatre (the Russell Page Fellowship), the Tanja Liedtke Foundation, the Australia Council for the Arts and the Sidney Myer Foundation. In 2013, he was Resident Director of Lucy Guerin Inc and in 2014 was guest dance curator at The National Gallery of Victoria. He was also the inaugural International Resident Artist at Dancemakers Toronto from 2016 to 2018. Antony has received four Helpmann Award nominations, winning for Black Project 1 & 2 and Forever & Ever (Sydney Dance Company). He has won numerous Green Room Awards and has also received a New York Performing Arts Award ‘Bessie’ for Outstanding Production for MEETING.

In his time as Artistic Director at Chunky Move, Antony has premiered Token Armies (2019), Universal Estate (2019), Nocturnal (2020), Yung Lung (2022) and Rewards for the Tribe (2022). He has also championed a range of sector support programs, including the Victorian Regional Artist Residency, commissioning program Activators and the Choreographer in Residence initiative.

Julian Hamilton Composer

Note

When Forever & Ever was originally created in 2018, I was thrilled that Antony asked me to collaborate on the music. I always enjoy working with my brother. We have a unique and often strange, shared creative universe that we can dive into when working together in projects like this — something we return to again and again, ever since we were kids making stop-motion movies with our GI Joe figures in the backyard!

Composing these longer form works is a refreshing change from the pop music world I normally inhabit. Instead of trying to say everything in the space of a three-minute radio song, I am instead able to explore just how much emotion and meaning I can convey by saying very little at all. Beats can build up over a very long period. Synths can subtly shift and morph almost imperceptibly. Antony encourages me in this process, often coming back with a suggestion to ‘do less… less parts… make it more repetitive and less complex!’ I am more than happy to oblige.

It’s a thrill to see this work take to the stage once again to audiences across Australia.

Biography

Sydney-based Julian Hamilton studied piano from a young age and trained at the Sydney Conservatorium of Music where he met collaborator Kim Moyes. Together they performed in the instrumental band Prop, and in 2003 formed the duo The Presets.

In 2008, he won the coveted APRA Song of the Year award for Silverchair’s Straight Lines, which he co-wrote with Daniel Johns. Also that year, The Presets released the chart-topping album Apocalypso, selling over 250,000 copies in Australia and winning five ARIA awards, including Album of the Year. In 2010, Julian shared the APRA Songwriters of the Year award with Kim Moyes. The Presets won Best Live Act at the In The Mix Awards in 2012 and released their critically acclaimed third album Pacifica

In 2013, The Presets collaborated with Chunky Move on Keep Everything, choreographed by Julian’s brother, Antony Hamilton. In 2014, The Presets toured nationally with the Australian Chamber Orchestra performing their collaboration Timeline. Julian and Antony continued their artistic relationship and created Ruth – a commission for Campbelltown Arts Centre in 2015.

Hamilton has collaborated as a songwriter, composer, producer and featured artist with musicians including Silverchair, The Sleepy Jackson, Dillon Francis, Cut Copy, Kris Menace, Gin Wigmore, Daniel Johns, Bertie Blackman, Adrian Lux, Flight Facilities, KLP and Flume.

Paula Levis Costume Designer

Note

The title Forever & Ever provided the catalyst for the costume concept of this work. In search of the visual manifestation of ‘infinity’, I discovered motifs and ideas that in turn, helped to lay a choreographic framework for the piece to evolve within. Most notably, the idea of a Babushka doll that can be opened to repeatedly reveal smaller and smaller versions of a character - however in this incarnation, one character would ‘open’ to reveal a double of another character which would then double again and again until there are sixteen dancers dressed similarly on stage. Symbols of infinity and patterns that allude to the idea of perpetuity can be found throughout the costumes of Forever & Ever. Colours are simple and bold and stylistic choices aim to reflect the uncompromising and energetic nature of the musical score. We are left with notions of a culture that is both vital yet throwaway, being driven forever onwards with youthful exuberance.

Biography

Paula Levis is a Melbourne based costume designer. She has worked extensively in Australia’s contemporary dance scene for twenty years, designing for Chunky Move Artistic Director Antony Hamilton on his works Token Armies, Forever & Ever, Meeting, Sentinal, Black Project 2 & 3, NYX, Keep Everything, Drift, RGB, Blazeblue Oneline and I Like This.

Paula has also designed costumes for Stephanie Lake Company (Manifesto, Skeleton Tree, Replica), Gideon Obarzanek (Two Faced Bastard, Mortal Engine, GLOW, Singularity, I Want to Dance Better at Parties), Lucy Guerin (Human Interest Story, Corridor, Structure & Sadness, Aether) and Melanie Lane. She has designed for dance companies Lyon Opera Ballet, Skånes Dansteater, Sydney Dance Company, Australian Dance Theatre, KAGE, Danceworks, Dancehouse, TasDance and

DanceNorth. Paula has also designed for Melbourne Theatre Company, Red Stitch Actor’s Theatre, Victorian Opera and La Mama and has worked as costume designer/ stylist for the Black Arm Band and musician Genevieve Lacey.

She was costume illustrator for the late Peter Corrigan over seventeen years.

Dancers

Lucy Angel

Born and raised in Wollongong, NSW, Lucy began her training at Joanne Grace School of Dance at age eight before completing her Certificate IV in dance at the Royal Academy of Dance at age 15. Lucy joined The Sarasota Ballet in Florida, USA as a trainee for their 2018-2019 season. At the end of 2019, she performed in The International Divertissement Ballet Gala with Projection Dance, as well as being a finalist in The Brisbane International Contemporary Dance Prix. Lucy joined Sydney Dance Company’s Pre-Professional Year in 2021 where she performed works by James Bachelor, Cloe Fournier, Stephanie Lake and Rafael Bonachela. Lucy commenced her traineeship with Sydney Dance Company at the end of 2022, premiering with the Company in Rafael Bonachela’s ab [intra] at DanceX.

Naiara de Matos

Naiara de Matos was born in Salvador, Brazil. In 2007, she began full-time training with the Bolshoi Ballet School in Joinville (Brazil). Following her graduation in 2011, Naiara began working in the Young Company of Bolshoi Ballet Brazil until she was offered a position with the Salzburg Landestheater in 2013. Throughout her career, Naiara has joined companies such as Leipzig Ballet (as a soloist), Konzert Theater Bern, Augsburg Ballet and Dance Company St Gallen. She has performed a variety of classical and modern repertoire including a number of soloist and principal roles, both in Europe and further abroad. Naiara has worked with internationally renowned choreographers such as Ohad Naharin, Johan Inger, Uwe Scholz, Nadav Zelner, Martin Zimmermann, Dimo Milev, Alba Castillo, Giovanni Insaudo, Mauro Astolfi, Francesca Frassinelli and more. Naiara joined Sydney Dance Company in 2023.

Dean Elliott

Dean began his dance training in Auckland, New Zealand at age 17. In 2018, he graduated from Ev and Bow Full-time Dance Training Centre in Sydney. During his time there, he worked with many Australian dance professionals and performed in works by choreographers Larissa McGowan, Anton, Robbie Curtis and Adam Blanch. In 2018, Dean appeared as a special guest artist in the Sydney City Youth Ballet’s Australian Tour of Together Live, performing in Lucas Jervies’ PowerHouse. Dean played the role of Young Brett Whitely in Theatre of Image’s Brett and Wendy… A Love Story Bound by Art directed by Kim Carpenter and choreographed by Lucas Jervies. Dean joined Sydney Dance Company in 2019.

Dancers

Riley Fitzgerald

Riley trained with the Anita Coutts School of Dance in regional Victoria before moving to Melbourne to attend the Victorian College of the Arts Secondary School, making his professional debut in The White Prince by Stephen Agisilaou. Riley then completed his Level 6 Diploma of Dance Performance at the New Zealand School of Dance in Wellington where he trained under James O’Hara and Tor Columbus. In 2019, Riley joined Sydney Dance Company, performing nationally and internationally in works such as ab [intra], Lux Tenebris, Impermanence and Six Breaths. Riley then moved to France, where he joined Ballet National de Marseille performing works by La Horde, Tania Carvalho, Oona Doherty, Lasseindra Ninja and Alexandre Roccoli and touring extensively throughout France and Europe. Riley makes his return to Sydney Dance Company in 2023.

Jacopo Grabar

Italian born Jacopo trained at Ateneo della Danza in Siena. In 2012 he joined Balletto di Siena as an apprentice and graduated to full time dancer in season 2013 –14. Jacopo received his American Ballet Theatre NTC diploma in 2013, before joining Baltic Dance Theatre (Gdańsk, Poland) the following year where he worked with choreographers including Jiří Kylián, Patrick Delcroix and the director, Izadora Weiss. In 2015 he joined ImPerfect Dancers Company (Pisa, Italy), directed by Walter Matteini and Ina Broeckx and in August 2016 joined Ballet des Stadttheater Bremerhaven, under the direction of Sergei Vanaev, where he worked with Itzik Galili and Ed Wubbe. Jacopo joined Sydney Dance Company in August 2018.

Liam Green

Having grown up in Perth, Liam trained with a range of local schools, including Dynamic Performing Arts and The Graduate College of Dance. At 15, Liam was accepted into the Advanced Diploma of Dance at WAAPA, the youngest to enter the program. Liam worked with the West Australian Ballet for five years, ending his time at the Company as a Demi-Soloist, before joining Sydney Dance Company in 2019. Liam’s repertoire is expansive and diverse, including works such as Radio and Juliet by Edward Clug, In Transit by Annabelle Lopez Ochoa and WOOF by Melanie Lane. Liam has also completed a Bachelor of Commerce, majoring in Finance and Economics, at The University of Western Australia.

Dancers

Madeline Harms

Born and raised in Mount Gambier, South Australia, Madeline Harms received her early training at Maryke Dance Academy before completing her high school education at the Victorian College of the Arts Secondary School in Melbourne. In 2012 she received her Bachelor of Dance at the Codarts University for the Arts, Rotterdam, The Netherlands, and then went on to base herself in Europe for a further 10 years. Earlier in her career Madeline performed with Dantzaz Konpainia (Spain) with choreographers Itzik Galili and Jacopo Godani, and worked in the Netherlands as an independent dancer. In 2017, Madeline became a member of tanzmainz, the dance company of Staatstheater Mainz, Germany, under the direction of Honne Dohrmann. During this time she worked closely in creations with a variety of choreographers and toured extensively throughout Europe and abroad. Madeline joined Sydney Dance Company in 2023.

Luke Hayward

Luke was born in Alice Springs and received his early training at Central Dance Theatre and Alice Springs Gymnastics before moving to Sydney to train at Tanya Pearson’s Classical Coaching Academy and Studio Tibor. He then furthered his studies in Germany by completing a Bachelor of Dance at Palucca Hochschule für Tanz Dresden. While there, Luke interned at Yuval Pick’s National Choreographic Center De Rillieux-la-Pape and Elena Tupyseva’s Balet Moskva. Upon graduating with Honours, he received the Ingrid-Biedenkopf-Stipendium and accepted a contract with Theater Balet Moskva in Moscow, where he joined their Ballet troupe and Contemporary troupe as a Soloist for the 2016/17 Season. Luke joined Sydney Dance Company in 2019 and has worked with an extensive array of choreographers including Rafael Bonachela, Gabrielle Nankivell, Melanie Lane, Gideon Obarzanek and Ohad Naharin.

Morgan Hurrell

Born and raised in Mudgee NSW, Morgan began her early training at age 2 and attended Dance Unlimited until 2019. Focusing on her passion for contemporary dance, at age 17 Morgan had numerous offers for full-time placements. She accepted an offer to attend National College of Dance in Newcastle where she completed her Diploma of Dance. In 2021 Morgan moved to Sydney to study an Advanced Diploma of Dance with Sydney Dance Company’s PreProfessional Year. She joined Sydney Dance Company as a Trainee at the end of 2021, supported by The Wales Family, and her first onstage performance with the Company was in Jacopo Grabar’s work Stereotipo for New Breed 2021.

Dancers

Sophie Jones

Sophie grew up in Angourie NSW and trained with Adele Lewis School of Dance. At the age of 14 she moved to Burleigh Heads, Queensland to begin full time ballet training and further her studies with Prudence Bowen Atelier. After extensive years of training she received a traineeship with the Joffrey Ballet in Chicago where she worked with numerous choreographers and performed Etudes by Harald Lander, and George Balanchine’s Serenade. After discovering an interest in contemporary dance, Sophie completed her diploma and advanced diploma with Sydney Dance Company’s Pre Professional Year in 2020 and 2021. During this time she had the opportunity to perform works by Holly Doyle, Omer Backley-Astrachan, Jessica Goodfellow and Rafael Bonachela. Sophie joined Sydney Dance Company as a Trainee in January 2022, supported by the David and Fee Hancock Foundation.

Connor McMahon

Connor began training at Planetdance in Sydney, Australia and continued his contemporary dance training at Ev & Bow, receiving his Diploma of Dance in 2021. During his final year, Connor made his musical theatre debut as Baby John in Opera Australia/GWB Entertainment’s production of West Side Story in Perth, WA, which toured nationally. Since graduating, Connor has performed in Sydney Choreographic Centre’s production Galileo with Francesco Ventriglia. Connor joined Sydney Dance Company in July 2022.

Jesse Scales

Born in Hobart, Jesse is from Adelaide where they trained with Terry Simpson and received the RAD Solo Seal. They received full scholarships to study with Complexions Contemporary Ballet in New York and Nederlands Dans Theatre in The Hague and went on to major in classical ballet at the New Zealand School of Dance. Since joining Sydney Dance Company in 2012, Jesse performed a feature role in the Australian premiere of William Forsythe’s Quintett for which they were awarded the 2015 Green Room Award for ‘Best Female Dancer’ and a nomination for the 2015 Helpmann Award for ‘Best Female Dancer’. Jesse made their choreographic debut in Sydney Dance Company’s 2016 New Breed season, and choreographed Inertia in New Breed 2020. In 2017, the Dance Australia Critics’ Choice Survey named Jesse as ‘Most Outstanding Dancer’.

Dancers

Piran Scott

Born in Mackay, Australia, Piran trained under Lynette Denny AM at Theatre Arts Mackay. He then completed the Professional Year program with the Queensland Ballet, before joining the company as a full member in 2010, under the artistic direction of Francois Klaus. In 2013, Piran received a soloist position with the Leipzig Ballet in Germany, under Mario Schroeder. He then became a soloist with the Ballet Theater Basel in Switzerland, directed by Richard Wherlock, followed by successful seasons with the Dance Company St. Gallen under Kinsun Chan, where he was awarded Dancer of the Year 2022 in “tanz” magazine Europe. Piran has been a professional dancer for over 10 years, performing numerous classical and contemporary works. Piran joined Sydney Dance Company in 2023.

Emily Seymour

Sydney born, Emily Seymour began her training in all styles of dance at All Starz Performing Arts Studio and later studied full-time ballet at Tanya Pearson Classical Coaching Academy. In 2016, Emily was a member of Houston Ballet II for two years, following a year as an Apprentice with Houston Ballet Company. While in Houston, Emily performed in works by Stanton Welch, Alexander Ekman, John Neumeier, George Balanchine and many more. Emily joined West Australian Ballet as a Young Artist for one year before joining Sydney Dance Company in 2018. Emily’s first performance with the Company was at the Théâtre National De Chaillot in Paris, followed by Sydney Dance Company’s European Spring Tour. Since joining the Company, Emily has performed in Rafael Bonachela’s ab [intra], Frame of Mind and Lux Tenebris; Melanie Lane’s WOOF; and Gabrielle Nankivell’s Wildebeest and Neon Aether

Born in Ballarat, Victoria, Coco started training at the Kerry Moore School of Ballet. In 2015 she was accepted into the Victorian College of the Arts Secondary School in Melbourne where she performed in many works, notably Tim Harbour’s contemporary work Romeo and Juliet and Jonathon Taylor’s Summer’s End. At the end of her schooling, Coco was accepted into third year of the Bachelor’s Degree (Honours) at the Rambert School of Ballet and Contemporary Dance in London. In 2020, Coco was accepted into Sydney Dance Company’s Pre-Professional Year program, where she engaged in works by Holly Doyle, Jessica Goodfellow, Omer BackleyAstrachan and Rafael Bonachela. In 2021, Coco performed in Rhiannon Newton’s The Gift of a Warning for New Breed and joined Sydney Dance Company as a Trainee in 2022, supported by The Wales Family.

Chloe graduated from Queensland National Ballet’s Advanced Diploma in Elite Performance in 2016. Chloe performed with Queensland National Ballet School as Alice in Alice in Wonderland, a soloist in Mulan, and Phyrgia in Spartacus, as well as a special guest at the Alana Haines Australian Awards (2017) and the Press Freedom Dinner (2017). In 2017, Chloe graduated from Sydney Dance Company’s Pre-Professional Year and joined the Company as Trainee in 2018. Chloe’s first onstage performance with the Company was in Rafael Bonachela’s award winning works Frame Of Mind and Lux Tenebris during the Company’s South America Tour to Chile and Colombia in 2018. She has since performed in Rafael Bonachela’s Cinco, ab [intra] and Impermanence, as well as Gabrielle Nankivell’s Wildebeest, Antony Hamilton’s Forever and Ever and Melanie Lane’s WOOF

Chloe Young

Coco Wood

Richard Cilli & Charmene Yap

Richard Cilli, Rehearsal Director

Born in Boorloo (Perth), Richard Cilli trained at WAAPA and Taipei National University of the Arts before joining Sydney Dance Company in 2009. His international performing career has seen him work with a range of choreographers including Rafael Bonachela, Lloyd Newson, Stephanie Lake, Anouk van Dijk, Jacopo Godani, Lucy Guerin, Gideon Obarzanek, Alexander Ekman, Adam Linder, Emanuel Gat and Kenneth Kvarnström.

Richard has danced with Sydney Dance Company, Rambert, Chunky Move, Australasian Dance Collective, Dancenorth, Lucy Guerin Inc. and K.Kvarnström & Co (Sweden). In 2010 he was awarded the Helpmann Award for best male dancer for his performance in Rafael Bonachela’s we unfold, and in 2012 won the Australian Ballet’s 50th Anniversary Ballet Competition.

As a choreographer he has created work for Sydney Dance Company, The Australian Ballet, Pre-Professional Year, LINK Dance Company and WAAPA, as well as various independently produced works. A certified Counter technique teacher, Richard has taught at institutions around Australia and the world, including the 2019 One Body, One Career intensive in Montreal, Canada.

Richard assumed the role of Rehearsal Director at Sydney Dance Company in 2021, since which he has worked on Impermanence national tour, Bonachela’s dance film Years, New Breed 2021, Ohad Naharin’s Decadance, and the French tour of ab [intra].

Charmene Yap, Rehearsal Associate

Charmene Yap is a multi-award-winning dancer, rehearsal director and choreographer. She is a graduate of the Western Australian Academy of Performing Arts and Purchase College

New York. In her early career, Charmene was a recipient of an Australian Council Skills and Development Grant and nominee of the prestigious Rolex Mentor and Protégé Arts Initiative Award.

Prior to her decade of performing with Sydney Dance Company, Charmene danced for companies Chunky Move, Tasdance, Dancenorth, Lucy Guerin Inc., Armitage Gone! Dance Company and worked with numerous choreographers including Tanja Liedtke and Antony Hamilton. She has featured in films including Think Of Yourself As Plural by David Rosetzky, Del Kathryn Barton’s Red, and Katie Noonan’s music video Quicksand. Charmene joined Sydney Dance Company as a dancer in 2010, performing the majority of works by Artistic Director Rafael Bonachela, and other Australian and international choreographers including William Forsythe, Alexander Ekman and Stephanie Lake. She has won numerous awards including the Helpmann Award for Best Female Dancer in 2012, the Australian Dance Award in 2013 for 2 One Another, and the Helpmann Award for Best Female Dancer in 2014 for 2 in D Minor. Charmene has choreographed works performed by Sydney Dance Company and Co3 Company in Perth and more recently was Assistant Choreographer for Gideon Obarzanek’s Us 50 which celebrated Sydney Dance Company’s 50th Anniversary.

In September 2019, Charmene commenced her role as Sydney Dance Company’s inaugural Rehearsal Associate, supported by the Nelson Meers Foundation and Sydney Dance Company’s Dancers’ Circle, working with the company’s artistic and education departments. Charmene also continues to perform and develop her choreographic practice.

Photo by: Pedro Greig

Staff

Board of Directors

Emma-Jane Newton (Chair)

David Baxby

Prof Larissa Behrendt AO

Jillian Broadbent AC

David Friedlander

Emma Gray

Alexa Haslingden

Mark Hassell

Catriona Mordant AM

Sandra McCullagh

Paris Neilson

Bianca Spender

International Patron

Dame Darcey Bussell DBE

Founding Patron

Dancers’ Circle

Julian Knights AO

Ambassadors

Judy Crawford

Bee Wood

Jules Maxwell

Dance Noir Committee

Co-Chairs: Mandy Foley

Peter Reeve

Committee

Sally Burleigh, Jane Clifford,

Debbie Coffey, Georgie

Fergusson, Alexa Haslingden, Stephen Thatcher, Michelle Walsh.

Management

Artistic Director

Rafael Bonachela

Executive Director

Lou Oppenheim

Executive Assistant

Amy Burrows

Producer

Dominic Chang

Programming Coordinator

Kerry Thampapillai

Chief Financial Officer

Sean Radcliffe

Accountant

Melissa Sim Payroll Assistant

Carina Mision

Director of Training and Education

Polly Brett

Head of Open Programs & Learning

Samantha Dashwood

Dance Class Manager

Ramon Doringo

Learning Manager

Justine Turner

Learning Coordinator

Jacqueline Cooper

Learning Administrator

Eugenie English

Head of Training

Linda Gamblin

Pre-Professional Year Course Coordinator

Tobiah Booth-Remmers

Training Associate

Juliette Barton

Conditioning Studio Manager

Felicity McGee

Customer Service Manager

Michael Sieders

Philanthropy and Government Relations Director

Alan Watt

Head of Philanthropy

Michelle Boyle

Philanthropy Manager

Madeleine White

Lachlan Bell (parental leave cover)

Philanthropy Assistant

Emma Langfield

Corporate Partnerships Manager

Marcus Hurley

Marketing, Communications and CRM Director

Priscilla Hunt

Head of CRM and Business Intelligence

Louise Davidson

Ticketing Specialist

John Calvi

Marketing Manager

Natalie Zagaglia

Marketing and Communications Coordinators

Vivienne Crowle

Laurance Corbett

Publicity Manager

Alexandra Barlow

Resident Multimedia Artist

Pedro Greig

Technical Director

Guy Harding

Company and Resident Stage Manager

Simon Turner

Production Coordinator

Tony McCoy

Head of Wardrobe

Annie Robinson

The Company

Rehearsal Director

Richard Cilli

Rehearsal Associate

Charmene Yap

Dancers

Lucy Angel

Naiara de Matos

Dean Elliott

Riley Fitzgerald

Jacopo Grabar

Liam Green

Madeline Harms

Luke Hayward

Morgan Hurrell

Sophie Jones

Connor McMahon

Jesse Scales

Piran Scott

Emily Seymour

Chloe Young

Coco Wood

Head Physiotherapist

Ashlea-Mary Cohen

Company Doctor Dr. Michael Berger

Sports Doctor Dr. James Lawrence

Company Teachers

Emily Amisano

Anton

Sara Black

Holly Doyle

Cathie Goss

Samantha Hines

Billy Keohavong

Chloe Leong

Iohna Mercer

Rhiannon Newton

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We would like to thank all our Partners for their generous support and acknowledge those who have given anonymously. Our Partners make it possible for us to create and present new work, inspire future generations of dancers and audiences, extend our reach and plan for the future.

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Step & Take A Seat

The next step has been taken and our home has been transformed, ready to welcome the next generation of dancers.

would like to thank everyone, both acknowledged and anonymous, for their visionary support of our Take

They have enabled the transformation of our

Our Partners

Government Partners

NEW BREED Principal Partner

Artistic Director’s Commissioning Partner (Forever &

Major Partners

Major Partner

Trusts & Foundations

Government Supporters

Company Partners

Associate Partners

Supporters

We thank the Naomi Milgrom Foundation for its support of our Forever & Ever Education Program, enabling school students to access transformative contemporary dance experiences.

Artistic Director Partner

Committee for Sydney, Tattersalls Club, Stedmans, Samsonite, Heaps Normal

Sydney Dance Company is assisted by the Australian Government through the Australia Council for the Arts, its arts funding and advisory body.

Sydney Dance Company is supported by the NSW Government through Create NSW.

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SYDNEY COLISEUM THEATRE

General Manager

Technical Manager

Theatre Services Manager

Ticketing Manager

Front of House Manager

Hospitality Manager

Technical Supervisor-Lighting

Stage Door Concierge

Trish Charan

Ed Tolland

Pramila Arumugam

Shane Abdur

Ian Zammit

Erica Ivancic

Mitchell Kroll

Carolyn Crompton

Denison Deligero

Caitlin Villarruel

Rodney Brent

WEST HQ EXECUTIVES

Chief Executive Officer

Chief Financial Officer

Chief Marketing Officer

General Manager, Legal & Human Resources

Executive General Manager, Food & Beverage

Richard Errington

Peter Adams

Michaela Chan

Amanda Stephens

Neville Alexander

Sydney Coliseum Theatre

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Photo by: Pedro Greig

“The value and the power of the arts has never been more important than it is now. Dance, music and creativity bring us together, give us hope and help us feel alive.”

Rafael Bonachela, Artistic Director