big shock in his life, but after seeing the beautiful lifestyle Perth is offering us, he
has ... I believe that art enhances our lives in many ways, and ballet certainly ...
balletnews PATRONS, WEST AUSTRALIAN BALLET, HIS EXCELLENCY MALCOLM McCUSKER AC CVO QC AND MRS TONYA MCCUSKER PATRON, BALLET CIRCLE, MRS ALEXANDRA BURT
AUTUMN 2013 SERGEY PEVNEV
OUR RUSSIAN DOWN UNDER
REACHING OUT
WAB’S INSPIRATIONAL OFFERINGS WEST AUSTRALIAN BALLET West Australian Ballet Centre 134 Whatley Crescent, Maylands WA 6051 PO Box 604, Maylands WA 6931 T: (08) 9214 0707 F: (08) 9481 0710
[email protected] waballet.com.au
POLITICAL EXCHANGES
PM JETÉS INTO WABC
PRINCIPAL PARTNER
WELLNESS AT WAB
A TOUCH OF CIRQUE IN THE STUDIO
Cover photography by Frances Andrijich.
‘The part assigned to me is to raise the flag which, if there be no fault in the machinery, I will do. And, when up, it shall be for the people to keep it up. That’s my speech!’
What a wonderful start to 2013 for West Australian Ballet. The Quarry season has been stupendous – one of the best ever – we celebrate the first anniversary of life in WAB’s new home, The Forrest Building in Maylands, and we welcome Aurélien Scannella and his family to Perth.
Abraham Lincoln
Many of you will have seen the Spielberg film ‘Lincoln’. I recently had the chance to watch it while Aurélien and I were jetting across to Brisbane and Auckland to meet with our counterparts at Queensland Ballet and Royal New Zealand Ballet to discuss some co-productions – a new initiative for our three companies that will hopefully bring rich rewards in repertoire development over the coming years. The line from the film (quoted above) particularly resonated with me (I did a bit of research and it is part of an actual Lincoln speech). We have come a long way in five years; building the company to 36 dancers (32 professional and four young artists) as well as a new facility for all Western Australians to cherish and enjoy. The Federal Government has also recently pledged the final funding required to support the augmented troupe. So what are the major challenges for the company over the coming years? Firstly, it is essential that we keep investing in high quality repertoire. We are nothing without good repertoire – it is the very essence of our business. And our audiences, dancers and patrons like you, expect us to continue to deliver on our promise to present the best the ballet world has to offer, both international and home grown. Secondly, in the next couple of years, we need to find a proper solution to the storage of our company’s precious sets and costumes. Currently the sets are stored outdoors in shipping containers that are exposed to the elements, and costumes and props are housed in a factory space located close to a dusty tip.
I can just imagine what it must be like for Aurélien to see Perth and our State ballet for the first time. He can see things with a clarity and freshness that comes with being ‘new’. And Aurélien calls it as he sees it – he is delighted with the energy and the achievements of the company so far. But he also sees that to take the company to the next level, we need to build on our fundraising – in a nutshell, we need more money, and he’s not afraid to say so.
Thirdly, the company needs to be able to take artistic risks. Without risk, art doesn’t move forward. Therefore we need to take some risk to ensure we remain relevant to contemporary society and the young people following in our footsteps. To give WAB’s creative teams the confidence to take risk and to future-proof against bad seasons or economic downturn, it is vital that a solid endowment fund is built. So, with all of this in mind, we are launching the second stage of our capital campaign, to raise $5 million over the next five years. We cannot simply stop now and contemplate our achievements, we need to look forward with enthusiasm to the next exciting stage of the company’s development. However, our success is very much dependent upon your continued loyalty and generous support. We have our fabulous troupe of dancers, a tremendous West Australian Ballet Centre, so it’s over to you; and in echoing the words of the great President Lincoln: now that the flag is up, ‘it shall be for the people to keep it up. That’s my speech!’ And that’s why each and every one of you is so important to West Australian Ballet. Please help us to keep the flag flying high! Steven Roth General Manager
WAB 2012 ANNUAL REPORT Learn more about the business of West Australian Ballet. The 2012 Annual Report is now on line and can be viewed or downloaded by visiting waballet.com.au > about us > annual reports
Aurélien Scannella, Artistic Director 2013 started quite differently for me than in other years: with ten meetings a week, teaching the company, taking rehearsals, looking for a house and a school for my son Matteo – and no time even to go to the hairdresser! Matteo arrived in Perth with my wife Sandy on 1 February and began school almost immediately. A big shock in his life, but after seeing the beautiful lifestyle Perth is offering us, he has already said: ‘Daddy, I think I don’t want to go back to France... it’s much better here!’ Every day he thanks me for bringing him to Perth and that makes my life in a way much easier now. This year is an extremely busy one for the dancers. We started our season with a very demanding and colourful season of Ballet at the Quarry. The audience was very receptive to the programme. We will soon be working on La Sylphide and Romeo & Juliet concurrently for our regional tour which begins 19 June. Ivan Cavallari will be back at the WABC around August to stage the wonderful ballet Onegin and we will end the year with Peter Pan. But before the summer break, the company will also begin working on the 2014 Quarry programme.
ALEXANDRA BURT BALLET CIRCLE PATRON
So, what would more money mean to the company? We have already raised so much to make the move to Maylands, thanks to your incredible support and contributions. But an extraordinary facility alone does not build an extraordinary company. An increased financial capacity would enable investment in original versions of the classics, the commissioning of new works, support of Western Australian choreographers, investment in high quality costumes and sets plus their proper care and maintenance, and the ability to attract and retain world class dancers, not to mention top professionals to manage, administrate and support them.
Just when I thought that Ivan Cavallari’s departure in December was the end of an era, along comes Aurélien to add to our identity; to show us that we are again on the cusp of something new, and maybe something really big. I love people who think big. In his own words, Aurélien is clear about why he is here: ‘As a company, we have two options: we can stop here and stay where we are, or we can develop, grow and build something amazing. I didn’t come all this way with my family to take the first option.’ See you at the Maj! Alex
FROM THE GREEN ROOM Warm Welcomes WAB welcomes Belgium born Aurélien Scannella, who joined WAB as artistic director in January. He is accompanied by his wife Sandy, who has taken the position as ballet mistress, and their young son Matteo. Isabella Robinson joins the company from the Finnish National Ballet, along with The Australian Ballet School graduate, Polly Hilton. New Zealand School of Dance graduates Chloe Einecke and Mitchell Powell, and WAAPA graduates Abigail Smith and Samuel Maxted, have been awarded young artist scholarships.
Young Artists
The WAB production department sees the appointment of Eugenio Hallen as Trainee Production Electrician.
I can already tell you that 2014 looks terrific! We are trying to build up a wonderful programme for you. But as you know big projects and big ideas can only be achieved with the loyal and generous support of our donors and patrons – and for that we all appreciate your interest in West Australian Ballet. I have certainly enjoyed meeting you at the various functions and events held over the summer.
Aurelien, Sandy and Matteo
I believe that art enhances our lives in many ways, and ballet certainly provides the best art can offer, including music, movement and spirit. And all of us can be touched at least by one of these elements. Perhaps that is why you are all lovers and supporters of our West Australian Ballet?
Pictured here with Young Artist Scholarship recipients Chloe, Mitchell, Abigail and Samuel is Laura Machlin, Trustee The Jack Bendat Foundation, John Palermo, Trustee The Simon Lee Foundation and benefactor, Mrs Patricia Gates – who generously provide scholarships to assist talented young dancers reach for the stars.
Fond Farewells
Yes, Australia has an amazing ballet company on its west coast and we are all very proud of it. So I would like for you to join with me in shouting from the rooftops – ‘WAB is FAB!’
Dancers Yann Laine, Georgina Hagerty and John Murray recently concluded their term with WAB and we wish them all well in the next stage of their careers.
My best wishes and thanks to you all for your kind and gracious welcome. Aurélien
I get really excited about the prospect of creating original repertoire for some of ballet’s most treasured stories. We have seen new productions of The Nutcracker, Don Quixote, Cinderella, and Pinocchio created by the company in recent years. They take huge amounts of dollars and effort and the risk is not just financial. The risk can be reputational as well – what if audiences don’t like them? Well, maybe sometimes they won’t. But whether we like a particular production or not, every time West Australian Ballet does something new, it adds another layer to its identity. We see more of WAB’s character and integrity, and we get to know it a little better each time. And hopefully with that comes respect.
Isabella Robinson
Polly Hilton
Eugenio Hallen
SERGEY PEVNEV:
FROM RUSSIA WITH LOVE BY MARKETING COORDINATOR, KASEY MCCARTHY
Poeme de l’extase. Photo by Jon Green
Known for his captivating stage persona, Sergey is somewhat of an enigma off stage. He is a man of few words but there is a twinkle in his clear, blue eyes that hints at the character beneath his quiet reserve. It was a fateful twist of events that eventually led Sergey, one of West Australian Ballet’s most loved and respected artists, to Perth. At the tender age of nine, Sergey auditioned for the legendary Vaganova Academy of Russian Ballet in Saint Petersburg. ‘There were a lot of serious people sitting at the front of the room: the Head of the Academy, doctors etc. I had to wear my underwear, show them splits, jumps and heart rate... Then they said perfect, okay you’re in! It wasn’t until later that day I realised how strong the competition was to get into the school’ relates Sergey. In fact, graduates of the school include many of the world’s most famous ballet dancers, choreographers and teachers, and their training methods are testament to Sergey’s own brilliant technique. It was an exhausting, emotional and physical experience, for Sergey: ‘The first few years were awful. It was full time, like an army, 8am-7pm.’ Eventually he learnt to enjoy his time at the Academy and gained many friends during his eight years there. Upon graduating in 1994, Sergey had numerous professional offers, including one from the prestigious Mariinsky Ballet (better known as the Kirov Ballet). Surprisingly though, he chose to take a different path and join the more modern Eifman Contemporary Ballet Theatre. An unexpected move after eight years of gruelling classical training.
Unfortunately, Sergey’s talent wasn’t embraced by the company and after years of intense work in the studio and on stage he found himself largely on the sidelines. Although upon reflection his choice may not have been an inspired one, Sergey talks fondly of his time there, particularly of touring when, rather than dancing with the rest of the company, he spent the majority of his time off stage drinking vodka with his friends! The vodka alone was not enough to sustain him and so he left Eifman Ballet after just one year to accept an offer with the Kirov Ballet where his appetite for performing was fulfilled, followed by the Novgorod Region Philharmonic Ballet where, on ‘day one’, he was promoted to soloist. Sergey’s first taste of Australia was during an extensive tour with Konstantin Tachkin Saint Petersburg Ballet Theatre and he immediately fell in love with Australia’s warm sunshine, clear blue skies and turquoise sea. ‘It was amazing; my best time on tour ever. I was so busy dancing though, that I didn’t even realise West Australian Ballet existed.’ It wasn’t until a fateful phone call in 2003 that he learnt of the Perth Company. Balletmaster Askhat Galliamov invited him to perform a guest role in Corsaire Variations, which he immediately accepted and an offer of a full-time contract followed in 2004. ‘It was a very easy transition; the company immediately felt like family. And I’ve been here ever since.’
BY DANCER YVETTE SAUVAGE
At just four years of age, Brisbane born Chloe Einecke was introduced to the world of dance and has since continued to thrive on the highs of dancing. When talking to Chloe about her dance career so far, it’s apparent that ballet is much more than a job; it has played a significant role in shaping the person that she is today.
Whilst studying, Chloe discovered new role models such as Alina Cojocaru and Tamara Rojo. ‘Even though she’s [Rojo] such a beautiful technician, her character portrayal is always so important to her. I think she’s a smart dancer and the type of dancer I would like to be.’ So with clear goals and plenty of inspiration, Chloe continued to push her mental and physical boundaries and was rewarded at the end of 2012 when she was given the opportunity to dance in a lead role of Parrish Maynard’s ‘Fractals’ in her last year at New Zealand School of Dance.
Chloe was often surrounded by the arts, particularly dance, when growing up. She began by studying ballet, jazz and hip hop. Excelling at ballet, she was invited to join the Australian Ballet Junior Interstate Programme and the Queensland Ballet Junior It was during this time that Chloe found out she would be joining Extension Programme. West Australian Ballet as a Young Artist: ‘It was the most exciting time for me. I’d reached the peak of my training – dancing a Having watched many of Queensland Ballet’s performances, lead role in our school’s graduation and then to be told I would Chloe remembers principal dancer Rachel Walsh as the title role be working with West Australian Ballet, it was the best feeling in The Little Mermaid and wanting to be just like her. In 2011 she possible. I felt like I was finally getting somewhere, especially was offered a place at the New Zealand School of Dance, where knowing just how hard it is to get a foot in the door.’ she studied for another two years. Even though studying at New Zealand School of Dance meant moving away from home and 2013 is an important year for Chloe and she is ready to take on her adjusting to the cultures of another country, Chloe saw the move role as Young Artist and make the most of it. ‘Being a young artist as a necessary stepping stone in her desired career. means everything! A career in dance has been a dream of mine
Sleeping Beauty. Photo
by Jon Green
Sergey has made Perth his home, marrying leading artist Fiona Evans in 2011. They now have a beautiful daughter Nadya who shares her parents’ fondness for dance. ‘I ask her to sing, but because we are moving all the time, you know, as we cook in the kitchen we are dancing about and she likes to copy.’ If he could choose the perfect ballet for him and Fiona to dance together, he would choose the passionate and compelling Onegin [which WAB will present in September]: ‘There is so much drama in the ballet. We don’t have enough at home so it would be interesting to act out at least!’ Further to that, Sergey cites Romeo and Juliet as one of his most rewarding onstage experiences and is looking forward to once again exploring the physical and emotional depths of the title role when the company takes to the road in June. When asked of his plans for the future, Sergey is thoughtful: ‘I plan on teaching. I have so much to give. I am happy to let go of dancing for a while; although I’m not ready to stop quite yet, I just want to explore other avenues. I’m 36 and although I feel like I could go on forever, I’m the first to know that’s not the truth… this place for me is perfect: I don’t feel too much space, I don’t feel squashed in, it’s not too busy, not too quiet. It’s perfect.’
THANKS TO YOUR GENEROUS DONATIONS TOWARDS REPERTOIRE, WAB IS ABLE TO BRING THE BLOCK-BUSTER CLASSIC, ‘ONEGIN’, IN ASSOCIATION WITH THE NATIONAL BALLET PRAGUE, TO HIS MAJESTY’S THEATRE IN SEPTEMBER.
Chloe, and dancers like her, have the opportunity to train with West Australian Ballet through the support of private foundations and patrons. Chloe’s position is gratefully sponsored by the Simon Lee Foundation.
YOUNG ARTIST CHLOE EINECKE
Giselle. Photo by Jon Green
since I was a little girl. You spend so many years perfecting your technique and pushing to the extreme. But at the same time I’m very aware of how fragile the career is and how short it may be, or if you ever make it at all. Dance is more than a job to me, it’s something that I’ve dedicated my life to. I think that’s why being a young artist is so surreal. It’s a major stepping stone and [at WAB] a supportive environment for me to learn and gain experience.’ Having recently become Chloe’s flat mate, I can appreciate her dedicated and motivated dancing persona, but also the fun, easygoing person she is outside of the studio. So what exactly does she do when she’s not sweating it out in the studio? ‘I think it’s important to have a good work/life balance and to keep a positive mind frame. I definitely rely on the support of friends, even just to catch up and break away from the intensity of the dance world. I like to go out and see other things; musical theatre, arts and cultural events, anything to have a bit fun and relax. The television also works as a great mindless wind down in our household, especially Gossip Girl and Masterchef!’ Whether it’s on stage, in the studio or at home, Chloe Einecke has given her all to get to where she is today, and I look forward to seeing just how much more this beautiful girl has to offer!
The chance to experience the beauty and grandeur of classical ballet is not something that everyone will encounter, but it should be. This is the dream at West Australian Ballet and tirelessly working towards that dream is education coordinator, Deborah Robertson. Her hugely rewarding role is a vital way for the company to cultivate links with the community and provide avenues for people to engage with the ballet world.
BY AMY WISEMAN
Organising physical workshops, master classes, regional tours, presentations, Q+A sessions, school matinees and open classes are just some of Deborah’s many commitments. Alongside these activities, Deborah works with community access project manager Sidonie Cox to provide transformational opportunities through the Lotterywest/Be Active Jumpstart and Lotterywest Community Matinee programmes. ‘Jumpstart is a general dress rehearsal where we invite members of the community who are disadvantaged in some way,’ explains Deborah. ‘Whether affected physically, socially or economically, this is a special opportunity for many people to experience their first ballet.’ The spectacle of the show is of course the feature, but guests also get to learn about the formalities of the theatre such as arriving with plenty of time, how to find your seats, the dimming lights, etc – all adding to the understanding and magic of a theatre experience. Similarly, with the Be Active Schools’ Matinees, young people can enjoy the pre-show buzz while Deborah talks to them about performance etiquette, such as: ‘When to clap, when to be silent; that there is a live orchestra with real people beneath the stage! I tell them that if there’s something they see that they really love they can cheer, or if there is a “baddy” they can boo; it all just helps them to feel comfortable and involved in the show.’ Likewise, the dancers and staff of West Australian Ballet delight in these matinees as there is so much audible feedback and energy in the auditorium. The Lotterywest Community
Matinee performances are also eagerly anticipated, with the emphasis on access for communities who, by virtue of their social or economic circumstance, are significantly disadvantaged, or for volunteers and support workers who give of themselves for the communities’ benefit. ‘For The Nutcracker season the matinee happened to fall on Volunteer’s Day and we wanted to celebrate these people who do so much. We had guests from St John’s Ambulance, Royal Life Saving Society WA, Emergency Services and Breast Cancer Care WA. It was so rewarding being able to provide this opportunity to people who perhaps wouldn’t usually be able to attend a ballet performance.’ In previous seasons the Lotterywest Community Matinee programme has hosted foster carers, the visually and hearing impaired, refugees and emerging migrant communities, and people living with cancer. Another success story is the education programme that accompanies WAB’s regional tours. Deborah and her assistants (two West Australian Ballet dancers) visit regional schools presenting dance workshops, talks and masterclasses. The students also have the chance to attend West Australian Ballet’s performance when it reaches their town. ‘What’s great is being able to change common misconceptions about ballet for the kids. It’s amazing how often when you ask “Can anyone tell me what they know about ballet?” someone will pipe up, “It’s really slow!”– It’s so nice to see the changes in knowledge and physical ability within such a short space of time. I’ve also found it is super important to have a male role model. Last year I was lucky to have Michael Levchenko with me and it meant there was a strong, muscular, male to alter the stereotype of the “male dancer”. As soon as the students began learning the technique and realised how hard it was, this assumption was shattered.’ For Deborah and her helpers, one of the greatest achievements was watching the children’s confidence build throughout the week, to the point that performing to the school assembly was not only achievable; it was an ‘absolute hoot!’
Back at the beautiful West Australian Ballet Centre, Be Active Open Classes are offered to various community organisations and provide opportunities to observe company class and meet the dancers. Recently, students from the Durham Road School, which caters for young people with intellectual and physical disabilities, were the lucky guests. ‘They just loved it. It was clear that many of them were finding it hard to stay in their seats.’ West Australian Ballet’s new home has also allowed for the inclusion of Public Classes into the company’s busy weekly schedule. ‘We’ve had fantastic numbers already and have had to add extra classes to keep up. It’s so great to be able to open our doors to the community, and now having the additional space to do that, makes an unbelievable difference to the breadth of the programmes we are able to offer.’ ‘Monday Vernissage’ evenings are another way the community can connect with the company, offering informative presentations about aspects of the ballet art form and repertoire. This is a lovely way to foster the interest and dedication of avid theatre goers, while inspiring and welcoming newcomers to ballet. Education is not just for the young. The access and outreach programmes offered by West Australian Ballet truly do cater for all demographics and levels of involvement, a fact that inspires Deborah in her role at WAB.
Did you know that you can also donate on-line at waballet.com.au?
YOUNG CAMBODIANS FIND THEIR STEP AT WAB In December 2012 WAB hosted a group of physically and socially disadvantaged Cambodian dancers, under the Epic Arts programme. Most of the young people were hearing impaired and whilst communicating was a little tricky, the universal language of dance assisted to establish a valuable connection with WAB staff and dancers. For Deborah it was an inspirational visit: ‘We shared a lot over the day, not only did they make some ballet moves and attend a performance of The Nutcracker at His Majesty’s Theatre, they took great pleasure in showing us their mix of traditional Khmer dancing and hip-hop.’
Outreach programmes for young people with disabilities or from socially or economically disadvantaged backgrounds are made possible through the generous support of the Stan Perron Foundation.
WELLBEING @ WAB
FROM TRAPEZE TO ARABESQUE: A MATTER OF TIMING BY DAVID HOUGH
WAB’S DANCERS:
TRIM, TAUGHT AND TERRIFIC!
When 34-year-old, Curtin University-trained physiotherapist Trevor Aung Than joined West Australian Ballet he had seen the Company perform only once, despite having grown up in Perth. Now he has a duty of care for the Company’s 36 dancers as head of its well-being programme. New to the Company, yes; but not new to elite performance. Himself a martial arts exponent, Trevor was one of three staff responsible for the physical well-being of the Macau-based Cirque du Soleil, which included five classically trained dancers. ‘The Macau Company was the most dance-oriented of the various Cirques then performing in North America and Europe’, Trevor told me. It was a soft but useful introduction to the world of dance since it furthered his understanding of high performance. Many of the circus performers had come from troupes where they had to sell tickets, programmes and popcorn, and usher patrons to their seats, as well as perform. If injured, they did more selling and ushering and so still had a job. In Cirque they were required to perform eight shows a week, week after week. If injured, these performers of often death-defying routines could do nothing else but wait for full rehabilitation.
BY HEAD OF DANCER WELL-BEING, TREVOR AUNG THAN
This was a challenge for management who wanted only the best at every performance, and the medical staff whose first responsibility was the welfare of the 75 high calibre performers in their care. ‘When you’re involved in a tumbling or trapeze routine, the margin for error is very small. Unlike “weekend warriors” with troublesome knees and shoulders, circus performers don’t have that freedom to rest or take it easy. It’s full on. So we had to be certain they were fully recovered.’ Macau is essentially a ‘gambling’ market, not a ‘destination’ market. Zaia was Cirque du Soleil’s first Asian venture. The 90-minute show opened in August 2008 and closed in February 2012, following which Trevor, and family wife Natalie and two daughters, returned home to Perth. West Australian Ballet was seeking to build on its treatment practice and, like many ballet companies around the world, refocus the emphasis from rehabilitation to prevention with a holistic programme covering all aspects of well being. Trevor joined the company in January this year. One innovation has been to separate the strengthening and conditioning classes for male and female dancers. Unlike circus performers, company dancers don’t perform night after night, week in week out, but season blocks throughout the year. This is a different kind of challenge for staff who must ensure peak fitness as well as a high level of motivation. It is too soon to assess the impact after only six weeks. The passion, energy and precision shown in the recent Quarry season would suggest, however, that the dancers are in pretty good shape.
YOUR ANNUAL GIFT TOWARDS DANCER WELL BEING HAS ENABLED WAB TO PURCHASE SPECIALIST TRAINING EQUIPMENT AND TO BROADEN CONDITIONING AND REHABILITATION PROGRAMMES ESSENTIAL TO THEIR DAILY TRAINING AND ROLE AS ELITE PERFORMERS. A FULLY EQUIPPED CONDITIONING AND TREATMENT SUITE HAS BEEN ESTABLISHED AT THE NEW WABC.
The dancers who I work with at West Australian Ballet know all too well that their bodies never lie. There is much more to being a professional dancer than just the dancing. Conditioning and preventative exercise is paramount in making the dancers more resilient, meaning fewer injuries, increased strength and flexibility, and a longer career as a dancer. I’m lucky to be overseeing the excellent Dancer Wellbeing programme, with the help of two experienced massage therapists, Jesse and Darren, and sports doctor, Scott Isbel. We’re very fortunate to have access to the new treatment and rehabilitation facilities at the West Australian Ballet Centre. I’ve heard they’re a far cry from the previous space at His Majesty’s Theatre (which doubled as a VIP lounge during performance seasons) and were made possible by your generous philanthropic support. Instead of having to wait to use a single reformer to warm up before pilates, dancers now have access to three pilates reformers as well as a CoreAlign unit, various weights and fitness equipment and three massage beds. This gives our dancers the time and equipment they need to extend their physical fitness and overall wellbeing. ‘It makes things so much easier in the morning now. Dancers will just come in and do their thing before class and not have to worry about running out of time – we previously had to wait for equipment’ says dancer, Melissa Boniface. And the dancers are definitely taking advantage of the new facilities, always coming and going from the rehab room before and after class, well on their way to becoming more resilient dancers.
INSPIRING THE NEXT GENERATION
WAB EDUCATION TEAM TAKES TO THE ROAD.
BY EDUCATION COORDINATOR, DEBORAH ROBERTSON
BY EDUCATION COORDINATOR, DEBORAH ROBERTSON
Back in 2010, you may remember that a large number of children performed alongside the company dancers in The Sleeping Beauty at the Burswood Theatre. Putting the call out to Perth’s ballet schools for an open audition, we didn’t expect the 160+ keen young dancers who filled the studio to bursting! Ivan Cavallari was so overwhelmed by the wonderful response that he made a special promise: ‘Unfortunately there are many of you
here that won’t be able to be in our production, but when we move into our new home in Maylands, I’d like to invite you all to join me for a master class.’ So in December 2012, we were finally able to deliver on that promise. The move to our new home has meant that we are now in a position to offer extra classes and workshops to the dance community.
WAB is able to offer a variety of training programmes for young dancers – because it is with your incredible gifts that the wonderful West Australian Ballet Centre became a reality.
West Australian Ballet takes great pride in taking ballet out to all the regions in this vast state of WA. Each year the education team travels to regional State schools and dance schools to present workshops, master classes and information sessions.
SCHOOL HOLIDAYS MEAN ONE THING TO MANY YOUNG DANCERS – WAB’S SCHOOL HOLIDAY BALLET EXPERIENCE. THIS POPULAR PROGRAMME FOR CHILDREN AGED 2 TO 12 INVOLVES ACTIVITIES SUCH AS: BALLET WORKSHOP, CREATIVE ACTIVITIES AND THE OPPORTUNITY TO WATCH OUR COMPANY DANCERS ‘IN ACTION’ IN THE STUDIOS.
Explains education coordinator Deborah Robertson: ‘Taking two dancers is so important to indicate the different strengths required in partnering. Quite often we’ll demonstrate a pas de deux so students can see the moves up close. And asking for volunteers to partner a female dancer is sure to get a few giggles from the class.’ ‘A highlight is seeing the look on so many children’s faces when they realise that ballet is such hard work. Even in half an hour you can see the change in students’ attitudes from “ballet is slow and easy” to “ballet’s harder than football!” Working with extra-curricular ballet students is also a highlight; sometimes a visit from West Australian Ballet can be enough to keep a child dancing indefinitely. Recently at a dance school in Karratha, a small boy said to one of the team ’I remember you from last time’. This particular dancer hadn’t been on tour for a while and couldn’t quite place where she’d met him before. It turns out he had done a West Australian Ballet workshop at his primary school in Kalgoorlie three years prior, so he’d not only moved 1800-odd kilometers, he’d taken up ballet in the process! Inspiring moments like these remind us just how important face-to-face contact really is. This year the education tour will take in Geraldton, Albany, Bunbury, Mandurah, Kalgoorlie, Exmouth and Karratha.
OPENING NIGHT WRAPS THE NUTCRACKER Audiences were delighted to see the return of Ivan Cavallari’s visionary take on the The Nutcracker as the company’s first pre-Christmas season for many decades. This production would not have been possible without the equally visionary support of our first ‘Campiones’ – a group of 70+ spirited individuals who made gifts to help complete Edoardo Sanchi’s bold set design.
Aurélien and dancers in the Great Hall at Parliament House.
Prime Minister Julia Gillard, Aurélien Scannella and Jayne Smeulders. Photo by John Green. WAB was honoured to be invited to perform at Parliament House in Canberra on 18 March, for the Prime Minister’s inaugural Migration and Settlement Awards dinner. Dancers Victoria Maughan, Meg Parry, David Mack, Ben Kirkman and Dane Holland appeared in Cass Mortimer Eipper’s Yes, I’ll move for you. And only one week later, the PM herself was visiting the WABC, with Federal Minister Stephen Smith, local Member Lisa Baker, and Bayswater Mayor Terence Kenyon. They were given a tour of the ballet centre and a preview of the Genesis season. Prime Minister Julia Gillard on her recent visit to the WABC The Nutcracker by Jon Green
WABC GAINS TOP HONORS
BALLET AT THE QUARRY
West Australian Ballet was thrilled to receive one of the State’s top heritage awards, at a gala presentation in the State Theatre on 16 April. The West Australian Ballet Centre was awarded The Gerry Gauntlett Award for Excellence in Adaptive Reuse.
WAB’s annual PIAF season under the stars again provided a ‘mesmerising’ experience to almost 8000 ballet fans.
WABC design team: Rodney Thompson (Designlink) and Catherine Watts, David Karotkin and Michael Henderson (Sandover Pinder Architects).
Your donation towards repertoire enabled the purchase of the Glen Tetley masterpiece, ‘Voluntaries’.
WABC design team: Rodney Thompson (Designlink) and Catherine Watts, David Karotkin and Michael Henderson (Sandover Pinder Architects).
La Sylphide Campione event
Former WAB ‘Campione’ were recently invited to the glamorous home of Caroline and Christian Mowbray in Peppermint Grove, to view their extensive art collection and learn about the upcoming season of La Sylphide. This sumptuous new production, designed by Richard Roberts and with costumes by Lexi George, will premiere at His Majesty’s Theatre in May.
Clarisa Machin & Barbara Dickinson Juliaté by Jon Green
David Thorpe & Rosana Cochrane
WAB’S GRACIOUS CAMPIONE HELP TO UNDERWRITE THE MAJOR COSTS INVOLVED IN REPERTOIRE DEVELOPMENT AND CREATING NEW PRODUCTIONS.
Freida and Jim Irenic, Janet Hazell and James Renton
PRIVATE GIVING 2012/2013 West Australian Ballet graciously acknowledges the committed support of our Ballet Circle donors, who have made a gift to the Company between 1 March 2012 and 1 March 2013 Patron Mrs Alexandra Burt Major Benefactors Bendat Family Foundation The Forrest Family Angela Bennett Michael J.M Wright Bravura Circle $10,000 + Patricia Gates Rod & Carol Jones Mary Ann Wright Artistic Director’s Circle $5,000+ Julian Burt Marilyn Burton Ian & Rosana Cochrane Charles & Patricia Galluccio Jamelia Gubgub & David Wallace The Robert Kimpton Family Andrew & Del McGuiness Paul Jones & Clair Medhurst Stan Perron Charitable Trust Dorothy & Allan Smith Christine & David Thorpe Jim & Gill Williams Anonymous (1) Choreographers’ Circle $2,000+ John Ahern AO & Barbara Ahern Helen Ansell Tony & Mary Beeley Susan Bogle
Tim Bult & Lisa Church Vaughan & Libby Burt Sally Burton Carol Conley Gena Culley Roger & Christine Davies David Doepel & Barbara Connell Marco D’Orsogna Italian Institue of Culture David & Hannah Goldstone Griffiths Architects D. Hansen-Knarhoi Bernard Hart Dr W. B. Muston Trewin Norman & Co Ingrid & Mark Puzey Clair & John Stanley Beth Townsend M & H Tuite Leading Artists’ Circle $1,000+ Terry & Elizabeth Allen Tom & Heather Bannerman Diana Beck Matthew J. C. Blampey Robert Cappellin & Carl Freedman Lesley Davies Michael & Wendy Davis Lorraine Ellard J. Fairweather Alana Gregory Brit & Edward Helgeby Friends of His Majesty’s Theatre Stephanie & John Kobelke Kay Lee & Richard Murphy
Rosalind Lilley Dennis & Margaretha Maltz Keir Ralph Jane & Jock Morrison Lynn Murray Callum Neil Howard Read Silas Robin Margaret Ruane Kurt & Fiona Sassenfeld Eve Shannon-Cullity Dave & Ros Smith Richard Tarala & Lyn Beazley AO Penelope & Rodney Thompson Barry & Tamara Walters Anonymous (6) Artists’ Circle $500+ Tomio & Sachiko Amagasu Shirley Barraclough Prudence Bowen C & K Brownlie Ivan Cavallari Katrina Chisholm Kim & Valerie Cottrell Jacinta & Michael Ehlers Mal and Christine Gammon Jack McColl Grylls Seta Haglund-Rice Helen Hollingshead James Hutchinson & Pepper Hutchinson The Iffla Family Jim & Freda Irenic Heidi Kellner-Marshall Ethelmary Kenworthy
(née Cook) Francis Landels Francis Logan MLA & Vivienne Burnham Fay Marshall Elizabeth Maynard Gay & John McMath Dr Karen McQuillan In Memory of Anna Mercer Ken & Julie Michael Ina Mitchell Ouwendyk Family Stuart & Jacqueline Strickland Steven Roth Pam Ryder Ian Smith Santina Stransky & Family Edel Taylor Diana Teplyj & Peter Korcsek Jasmine Waters Margaret Whitter Elizabeth Woods Anonymous (6) West Australian Ballet also thanks and recognises those who have chosen to make a bequest or have left a legacy. Ella Fry Bequest KIRA BOUSLOFF BEQUEST CIRCLE Leslie Davies Olive Wheeler-Brennan Anonymous (4)
PATRON PROFILE
GREETINGS FROM THE CHAIR What an amazing year we had in 2012, but that is over and we must look forward to 2013 and beyond. The time has come to stand tall and be accountable. If we are to remain relevant to the people of Western Australia the ballet company and in my case Friends, must engage with the public and we intend to do this by reaching out to • Our existing members and ask them to introduce two new members • Organise a general membership drive to at least double membership to 400 by the end of 2013. • Engage with other friends organisations for cross-pollination of ideas and combined functions. This way we can ensure the name of West Australian Ballet and its Friends organisation is a force to be reckoned with.
We have all the ingredients: A fabulous company of dancers, a new, highly motivated artistic director, Aurélien Scannella, an enthusiastic Board and management team and arguably one of the best Ballet centres in the world. What an amazing starting point for our ingredients to mix and mature into the most incredible creation within the arts of this state and Australia. You can be assured that I and the Friends council will be stirring and mixing to achieve our goals. Please feel free to chat with me or any other council members about ways you may see how best we can help Western Australian Ballet. Our email address is
[email protected] Best wishes, See you at the Ballet, Rodney Thompson. Chairman
SUMMER SOIREE The annual Friends Summer Sizzler Soiree, held prior to the Dress Rehearsal of Ballet at the Quarry, proved to be the most popular Friends event of the year with over 100 members in attendance. Guests had the chance to meet new artistic director Aurélien Scannella and guest choreologist Bronwen Curry (Voluntaries) on the lawn before a sneak peak preview of the upcoming Ballet at the Quarry programme.
Ailsa Edmeades, Barbara Breden & Elaine Lindebringhs
Alan Dodge, Bronwen Curry & Neil Archibald
UPCOMING EVENTS
Charles & Patricia Galluccio BY PHILANTHROPY COORDINATOR, NICOLE RENDULIC It was my absolute delight to recently meet Charles and Patricia. Both from country WA, Patricia, the daughter of a gold mining family, was born in the Norseman Region and raised in the Murchison, whilst Charles hailed from Wanneroo, the son of farming and vegetable cultivators. It seems perfectly natural then, that these two country souls met and fell in love in the same accounting firm in Perth, and have been happily married ever since. They both became exposed to West Australian Ballet through their work social club, which included attending live events. However, the real turning point for their support and interest in ballet began when their eight year old daughter began ballet classes. Much to their daughter’s delight, WAB performed Cinderella a year into her studies and she was lucky enough to be chosen as an extra and paid the mighty sum of $10. Patricia recalls her daughter’s beaming face on being presented with $10 all to herself! Two of Charles and Patricia’s grandchildren continue their involvement and interest in dance – one excelling in ballet, whilst the youngest, aged eight and with castanets in hand, has taken up Flamenco dancing. When they are not attending to grandchildren’s ballet classes or performances, Charles can be found occupied with his horses in Chittering or travelling with Patricia to more exotic locations, usually, as Patricia says: ‘with children in tow’. Three children and ten grandchildren certainly keep them on their toes. Donors, subscribers and Friends of West Australian Ballet for many years, the Galluccio’s have been thrilled with the growth of the company: ‘The improvement has been incredible… but there is still always room for more progress’ mentions Charles.
La Sylphide Friends Lounge Enjoy a complimentary glass of wine with Friends and watch our dancers warm up in the studio. 6.30-7.30pm HMT Friends Lounge (upper circle foyer) prior to each 7.30pm performance.
PUBLIC CLASSES AT WAB You too can learn to arabesque with attitude! West Australian Ballet now offers adult public classes including: Ballet for Beginners, Ballet Intermediate, Beginners Contemporary Dance and Pilates – taught by some of WA’s finest teachers, including former West Australian Ballet dancers Jacinta Ehlers and Donna Salmin, and held in – by far – the best studios in Perth! For class schedules visit waballet.com.au. ERRATA: Our apologies for misspelling WAB Alumni and founding company member, Kevan Johnston, in the last edition of Ballet News.
