Chair's Report

The year 2021 was one of contradictions, tremendous highs, and some bracing challenges for our organisation. We continued to push through the upheaval and dislocation of the pandemic with steadfast ambition and relentless drive. A defiant stance, through creative innovation and positive mindset, which set us apart in 2020, delivered further outstanding financial, operational and artistic outcomes. Sydney Dance Company continues to enjoy strength and stability. As the borders reopen, we are unleashing our artistry back into the world with intense passion and dedication. Before outlining more of this agenda and the achievements of the 2021 year, it behoves me to first speak of two colleagues we lost during this period. In our last Impact Report, we paid tribute to the late Carla Zampatti AC who was a long-time Board member and supporter of Sydney Dance Company. Among her myriad legacies to the creative industries will forever be the role she played in bringing our organisation back from the brink over a decade ago and helping lift it up to the heights of international acclaim and recognition. Having farewelled Carla in April, we faced yet more sadness in November with the death, after a long illness, of our very special Chrissy Sharp, fellow Board member and former acting Executive Director of Sydney Dance Company, Chrissy, was a giant of the creative arts who was rightly judged to be one of the finest administrators that Australia has produced. She carried herself with a warm and gentle élan which we will forever miss. She took on an acting Executive Director position at a crucial time as we negotiated the redevelopment of our headquarters and studios at Walsh Bay. Later, being appointed to the Board, she challenged our thinking and brought a truly global perspective to how we steward the organisation. We were also profoundly saddened by the sudden and tragic passing of visionary arts philanthropist Neil Balnaves AO in February 2022. Neil was one of Sydney Dance Company’s most generous and enthusiastic supporters, partnering with the Company for eight years in a commitment to emerging choreographers through the New Breed program. As a firm believer in the importance and impact of the arts on communities, he was a tireless and inspiring advocate and leaves a lasting legacy on an industry he cared so deeply about. While the sorrow of loss cuts deeply, we can also celebrate the lasting contributions of these members of the Sydney Dance Company family and the knowledge they will be a part of the company for eternity. Our compass through these past two years has been to stay true to purpose while ensuring our business is sustainable. This continued to guide our decision-making and choices as, like all performing arts organisations, we navigated a difficult external environment. We thank all our supporters and donors who have stood with us to protect, nurture and keep the Company’s creative flames burning bright. Your engagement, care and affection for this great organisation is something we not only cherish but recognise in our commitment as a Board and management to diligent stewardship. Our time on stage in 2021 was impacted by lockdowns and restrictions. There is no complaint but simply a reality to which we had to engage and adapt. We feel fortunate that in a window in which larger gatherings were allowed, Sydney Dance Company was able to stage the February 2021 premiere at Roslyn Packer Theatre of the brilliant work Impermanence from our acclaimed Artistic Director Rafael Bonachela. With a remarkable score from Bryce Dessner, performed live by the Australian String Quartet, this is a soaring epic and true masterpiece. It sits proudly in the Bonachela repertoire. We are excited at the prospect of it travelling further afield in Australia and across the world. Reflecting our careful management and balanced approach, Sydney Dance Company posted an operational result of $624,291 and a total 2021 yearend surplus of $2,017,277 when including the impacts of lease accounting standards and Capital Campaign contributions. These positive outcomes reflect the efforts of our leadership team, the generosity of our donors and commitment of audiences, and the ongoing support of the Australia Council and Create NSW. Judicious management of costs, and the benefit of the Federal Government’s JobSaver program, allowed the Company to maintain employment levels and enter the coming transition years, in which we expect there will be a return to a normal cadence of performance and educational activities, with robust financial foundations. One of the great frustrations from the pandemic has been the fear of arrested momentum. We entered 2020 hitting new heights of recognition and our performances were in huge demand from the top theatres for contemporary dance across the globe. One such lost opportunity was a residency at London’s Royal Opera House, Covent Garden. Sydney Dance Company is a truly international performing arts organisation and we play an important and powerful role in cultural diplomacy, ensuring Australia is seen for its sophistication onstage as much as its success on the sporting field. Fortunately, as I write this on a train between Lyon and Paris, we are now back on the global hustle with a prestigious tour of France with support from the Department of Foreign Affairs and Trade.

One measure of the transformation and growth of the Company over the past decade has been its growing family of philanthropic donors and now we can add some new and exciting corporate sponsors in LG Signature and Cartier. These are international luxury brands that resonate strongly with our attributes of innovation, excellence, and enduring beauty. Their support allows us to continue to produce world-class art for Australians and the world. We are excited to have them join the Company family at a time when our growth trajectory is reestablished, and our ambition remains undiminished. A priority of any Board is succession. In the latter part of 2021, the Board recruited a new Executive Director following the appointment of Anne Dunn to the co-CEO role of the Sydney Theatre Company. In my time working with Anne, I am extremely proud to say she became a cherished friend. Her leadership alongside Raf has defined a golden period of resurrection, revitalisation and accomplishment. She leaves an organisation vastly transformed and firmly established as a leading international performing arts institution. We wish her the very best in her new role. We have welcomed Lou Oppenheim as our new Executive Director. Lou comes to us from the Sydney Opera House and brings an impressive pedigree in arts and management. Among her first tasks, with little chance to draw breath, was to join Raf on our landmark tour of France in March and April. A daunting first challenge at the helm and one she took on with aplomb. I look forward to our stakeholders getting to know Lou. She is already striking up a tremendous partnership with Raf and bringing new insights and knowledge to the Company. We are delighted to have secured her services and her strategic acumen will be invaluable as we look to the next horizon. We recently announced the elevation of Emma-Jane Newton to the role of Deputy Chair. As Chair of the Audit and Risk Committee, Emma-Jane has played an essential part in defending the Company’s financial health and operational stability during the pandemic and helping navigate the difficulties of this time. In addition, Alexa Haslingden and Emma Gray, both incredibly accomplished executives and passionate advocates for the arts, have been appointed nonexecutive directors. As well as Emma-Jane, Alexa and Emma, I would like to thank our Board members for their diligence and commitment: Pamela Bartlett, David Baxby, Jillian Broadbent AC, David Friedlander, Mark Hassell, Sandra McCullagh, Catriona Mordant AM and Paris Neilson. The outrageous talents of our dancers are matched only by the extraordinary commitment to excellence and fearless attitude they exhibit on stage. We have focused intently on their wellbeing during this destabilising period – indeed, as we have for all members of staff – and they have acknowledged this with professionalism and adaptability. Witnessing the extraordinary reception they have just received in March 2022 headlining Théâtre National de Chaillot in Paris and Lyon’s Maison de la Danse creates enormous pride for me as a Board member and an Australian who values artistic exceptionalism. The Board continues to exercise its responsibilities with a shared sense of purpose and recognition of the privilege of station. We believe the best days are still ahead as we cement our status on the global stage and pursue exciting ambitions in the elite dance training and education segment of our business. We look forward to your continued enjoyment of our performances and ongoing engagement with our organisation.

Brett Clegg Chair