ballet news - West Australian Ballet

balletnews
PATRON
Her Excellency the
Hon. Kerry Sanderson AO
Governor of Western Australia
PATRON, PRIVATE GIVING
Mrs Alexandra Burt
SPRING 2015
Alison Lee:
WA’s first
international
ballerina
André Santos
and Meg Parry:
sharing their inspiration
and love of dance
Principal partner
A dancing life is a healthy life:
top tips for better living
Steven Roth Chief Executive
‘Way back when’ I was studying conducting…
my conducting professor and I would often
discuss how to approach the interpretation
of the ‘heritage’ repertoire in a contemporary
world; particularly in relation to composers
whose instruments pre-dated our modern
versions. Bach, Haydn, Mozart and
Beethoven, for example, had violinists
playing on cat gut strings, the piano was a harpsichord or
fortepiano, a timpani had real cow hide skin and so on… This
meant that the sound heard in Beethoven’s time was quite
different from the orchestral sound we hear today.
My prof’s mantra was: ‘Steven: Conduct these works with the
soul of the past but with the spirit of today.’ That resonated a
lot for me, and it still does. The canon of classical works all
have innate cultural and artistic value, and should continue to
be heard. But we also have a responsibility to approach their
interpretation in ways that will ‘speak’ to our contemporary
audiences and make them relevant.
This is also how we approach our strategic planning here at
WAB. There is a large body of classical ballets that people want
to see, but how best to represent them in the 21st century is
something that is important to consider.
One of the things that I believe really distinguishes WAB from
the other ballet companies, is our willingness to take a bit of risk
and bring you things that you won’t necessarily see elsewhere in
Australia or around the world. This artistic and creative journey
ALEXANDRA BURT Patron, Private Giving
We have just completed our second five year strategic plan for
WAB. And like my conducting mantra, we aim to honour the old,
bringing a fresh approach wherever it is appropriate, as well as
celebrating and commissioning the new.
Our 2015–2020 Strategic Plan articulates the ambitions and
dreams of the Company, as well as the challenges we will
face over the next few years – not least being to continue to
grow attendances in an ever-increasing entertainment market
and competition from the home theatre (and the sofa!).
Ensuring that WAB remains relevant and connected to all of our
stakeholders: our audiences, our private donors, our corporate
and government partners, and our communities, who all support
us indirectly, is paramount.
There will be many more highlights in store over the next few
years, including new and exciting initiatives that harness the
Company’s talent and energy. The Strategic Plan aims to deliver
continued growth and – we hope – much success. Success is a
shared achievement. We owe our success to all who support
and encourage the enterprise that is West Australian Ballet. As
ever, thank you!
Steven
AURELIEN SCANNELLA Artistic Director
We are living in a century where many
things are set in stone – we think we know
about and can control everything. But one
thing we are far from understanding or
controlling completely, is the human brain;
the millions of different ways it functions
and reacts.
Front cover image: Meg & Andre. Photo by Sergey Pevnev
Sooner or later the medical arena will need to find new ways to
relieve people where traditional medicines can’t help anymore.
For some people it can be acupuncture, natural therapies, or
sport.
I personally believe that the Arts have the capability to literally
save someone’s life and soul. It could be a song, a movie, or
an opera.
In my case ballet helped me to find my way in life.
Being involved in a car accident at the age of seven, traditional
medicine wasn’t able to help me to recover from my brain
2
just a case of being able to prop oneself
up in a chair and muddle on through in
a bleary-eyed state of semi-conscious
dysfunction. At the very least, a dancer
has to be able to see and breathe properly.
Unless he or she is performing a solo, the
role of teamwork is central, whether in
a class, a rehearsal or a performance.
Expecting the rest of the team to trust
someone who can’t see properly and may
collapse at any moment is risky, even if
everyone has noble intentions.
continues to inform our business planning and the direction of
the Company. I’m sure you all have particular highlights from
ballets over the past years that are still fresh in your memory
and continue to ‘resonate’.
trauma. So a doctor surprisingly asked my mother to send me
to ballet class!
Unconsciously, ballet helped me to control my reactions and
emotions, but it also helped my body to recover from threemonths of hospitalisation.
Our General Dress Rehearsals are always attended by people
from the community with physical and/or other disabilities.
You would be amazed to see the way that the magic of ballet
operates once the rehearsal starts. Everyone is suddenly quiet
and focused on what’s happening on stage… no more pain, no
more fears, no more tension in the auditorium.
Winter is synonymous with colds and
flu; either one of them makes us feel
miserable and it’s a simple yet vital
reminder of just how important our health
is. It’s also a good time to be in the tissues
and cough lolly business!
Although I’ve never really thought about
it until now, dancers get their fair share of
winter lurgies too. However, when your
body is your primary instrument of gainful
employment, the effect of any illness is
often amplified. Returning to work is not
WAB’s health and wellbeing programme
has become a core element of the dancers’
daily working environment. It includes
daily physiotherapy and massage, weekly
strength and conditioning classes, as well
as individualised Pilates and rehabilitation.
The dancers can even get assistance on
any minor medical ailments such as cuts
and blisters.
As you can imagine, the cost of providing
this level of support is high. But then, so
is the cost of not providing it.
Included in WAB’s private giving
programme is the option to direct part or
all of your donation specifically to dancer
wellbeing. It is a very rewarding avenue
of support, knowing that you are helping
to ‘keep the show on the road’ and I
encourage you to give it some thought...
perhaps as you are preparing to stave off
the next cold!
Wishing you all good health,
Alex
FROM THE GREENROOM
Welcome
Fond Farewells
New Arrivals
We welcome a new Young Artist to the
Company, New Zealand born Vida Polakov,
into the new role of Content Development
and Publicity Officer, Tony Currie, and
Anthea McCormick as Marketing
Coordinator.
We bid farewell to Technical
Director, Jon Buswell, who has
moved to Melbourne to take
up a new technical role with
The Australian Ballet. Stage
Production Manager, Jenna
Boston, has moved over to
our partner, West Australian
Symphony Orchestra, and dancer,
Leonardo Laurent Mancuso, has
returned to his home, Milano.
Sponsorship and
Communications Director,
Sarah-Jane Emslie and
partner Stephen Blundell
have recently celebrated
the arrival of their first child,
a ‘bouncing’ baby boy, Harry
Frederick Leslie.
We also welcome new WAB Chair, Dr
Robert Edwardes and wish him well in this
distinguished position (find out more about
Dr Edwardes on page 16 in Ballet News).
Chair, John Langoulant AO retired
in June from the Board of WAB.
John joined the Company in 2004
and held the position of Deputy
Chair from 2007 and Chair from
2012.
I think these are more than valid reasons to keep the Arts alive
and in turn, our societies happy and healthy. With your help,
WAB is able to continue its benefits to our communities for
many years to come.
Aurélien
For this reason, the underlying, long-term
health of a dancer’s body is paramount.
When sickness or injury strikes, they have
to get back on their feet as quickly as
possible, and a foundation of optimum
health gives them the best chance of
doing so.
Head of Dancer Wellbeing, Jenny Woods,
gives a comprehensive run-down: ‘Our
Head Medical Officer is Dr Mark De Cruz
and our Physiotherapist, Victoria Simpson.
Together, we all work closely to manage
any injuries or sicknesses. We have a
holistic approach whereby a dancer
may be referred to other specialist areas
including sports physicians, specialist
consultants, a GP, dietician, podiatrist or
psychologist as required. The artistic staff
are also available for specialist coaching
when required.’
Vida Polakov
Tony Currie
Anthea McCormick
We wish them all well in their
next adventures.
Gongs
Sarah-Jane Emslie
and
Harry Frederick Les
lie
We congratulate Diana
de Vos-Beck OAM, for
her Medal of the Order
of Australia in the recent
Queen’s Birthday Honours.
Diana danced with West
Australian Ballet from 1958 to
1966 and has been a leading
figure in the WA dance
world, including as a Lecturer
in Dance at WAAPA.
Diana de Vos-Beck
OAM
3
in the spotlight
MEG PARRY:
she was called to join WAB’s Young Artist
Programme, going on to dance prominent
roles in her very first ‘Quarry’ season! A
tremendous honour, but no surprise as talent
is always rewarded.
By Demi-Soloist
Christopher Hill
Leading by example
The decision to return to WAAPA was a sage
one because now, coming full circle ten years
later, Meg starred in the lead role as Swanhilda
in the recent production of Coppélia.
Choosing to dance professionally is no easy task. Often we
are reminded of the hardships that this career can present,
the challenges to overcome and the sacrifices to be made. It
takes a lot of determination and a healthy dose of 'I'll show
you!' to succeed.
We all have that one special teacher who has
given us something extra that we can take
with us through our career and lives, often
reflecting back to their lessons and using
their words of wisdom to guide us in the
tougher times. Meg often finds inspiration in
the knowledge and belief that her particular
mentor offered her. In turn, when Meg returns
to her home town of Brisbane she will visit her
former dance studio to inspire and share her
knowledge with the next generation.
As I sit down to chat with Meg Parry, it quickly becomes evident that
her career choice is the right one. This bright young dancer sure is
showing us!
Joining West Australian Ballet as an inaugural Young Artist, Meg has
gone on to shine on stage and wow Western Australian ballet audiences
with her unique blend of determination, artistry, musicality and power
in both the classical and contemporary repertoire. Versatile, intelligent,
fast learning and always impressive to watch, Meg draws upon her
multi-disciplinary dance training to inform all of her artistic decisions.
res. Photo by
ncers in Who Ca
Meg & WAB Da
er
Ashley de Praz
Taking a somewhat different route to joining
a ballet company, halfway through her degree
at WAAPA, Meg decided to give performing on
cruise ships a go. What better way to see the
world at the tender age of 18. Doing what
she loves most and being paid to traverse
the globe was an opportunity not to pass
up. Whilst rewarding, the desire to finish her
dance training at WAAPA ultimately drew her
back to Perth.
During her final year at WAAPA, Meg was
chosen to perform with WAB for their season
of Coppélia and within weeks of graduating
Meg & Liam Green in Hold the Fourth.
Photo by Sergey Pevnev
By Dancer
Yi Li Law
SOUTH AMERICAN SPARK:
André Santos
shines in WA
and beyond.
4
Andre & WAB
Dancers in Pe
ter
Pan. Photo
bySergey Pevn
ev
André Santos... a household name here
at West Australian Ballet (WAB), André
is an exceptional dancer and an allaround great guy. Not only is he a
magnificently talented dancer, he is a
brilliant choreographer as well, one
who always brings out the best in his
fellow dancers, both in and out of the
studios. So who is André?
serious ballet training until he was eleven.
Getting to ballet classes was not easy for
André as he had to leave school early and
travel at least two and a half hours each way
by bus and train.
The youngest of four boys in his family,
André grew up in the small town of Embu
in São Paulo, Brazil. A very active child, he
was always dancing, singing and talking. So,
his Aunt suggested that he try out for some
television commercials. At the audition,
his mother met a ballerina's mother and
decided that dance would also be a great
outlet for André's endless energy. So, at the
age of nine, André took his first dance class
and he loved it. However, he didn't start
For more than five years, André endured
this long travel to make it to ballet classes.
His perseverance and dedication started
paying off when he participated in the
Youth America Grand Prix (YAGP), the largest
international competition for aspiring young
dancers, with the prize being a scholarship
to one of the leading international dance
schools. During the pre-selection process
in Brazil, André caught the attention of the
adjudicators, securing himself a spot in the
Similarly, Meg has been enriched by teaching
weekly evening adult ballet classes at the
WABC. Witnessing breakthrough moments
when a triple pirouette is achieved, or when
a particularly spectacular flying grand jeté is
executed, makes it all worthwhile for both
student and teacher.
Meg seems to be happiest when in the studio
as both dancer and teacher, which is why
sharing her experiences and guiding others to
find the joy of dance is extremely worthwhile
and very humbling for her. We all love to
dance. It is about having fun and pushing
yourself beyond what you thought you could
achieve that is always exhilarating.
After a stellar 2014, culminating in a wellAndre with
Crai
Hepburn & Ro g Lord-Sole, Sarah
bert Mills in
Photo by Em
La Fille.
ma Fishwick
Meg & Matth
ew Lehmann
in Coppélia.
Photo by Serg
ey Pevnev
deserved promotion to Demi-Soloist for her
strong yet nuanced portrayal as the Wicked
Witch in Snow White last December, we are
going to witness more and more great things
from this inspiring dancer!
We acknowledge the tremendous
support of The McCusker
Charitable Foundation for
providing the Young Artist
Scholarship that set Meg on this
path to success. Meg and many
aspiring young artists following
her have been given the keys to
success through the generosity
of individuals and foundations
who provide ongoing funding for
WAB’s important training and
artist development programmes.
grand finals which took place in New York City.
Through the kindness and generosity of some
very caring mothers from his dance school and
bank loans that his family would later struggle to
repay, André headed to the Big Apple.
A sixteen-year-old André, who had never left
Brazil, took his first ever flight to New York
City. It was at the YAGP that he was offered
a full scholarship to the New Zealand School
of Dance (NZSD). André, not speaking a word
of English, then moved to Wellington to take
up his place at the NZSD. During his second
year at the NZSD, André danced with WAB in
Youri Vamos' Romeo and Juliet, making such a
Andre in rehearsals
for La Fille. Photo by
Sergey Pevnev
great impression that he was offered a full time
contract with the company shortly thereafter,
where he has danced his way up the ranks and
is now a Soloist.
Whilst André loves dancing, he is also very
passionate about music. Anything from Beyoncé
to Jessie J to Ricky Martin. Songs you can dance
to, songs you sing along with and songs that
just move you. However, his favourite music
comes from his love of musical theatre and the
beautiful songs within those musicals. Wicked is
his absolute favourite musical followed closely
by Legally Blonde, Les Miserablés, Chicago,
Rent, just to name a few. André can often be
heard bursting into song and belting out his
favourite tunes! As much as he likes singing,
he’s not able to hold a tune. Thank goodness
André decided to stick with dancing!
Andre in Pinocchio. Photo by Jon Green
5
By Ivan King
Elsewhere in the same diary she observes: ‘It was surprising
to find quite a number of boys who had been dancers
in civilian life, and one boy was so enthusiastic that he
jumped up and demonstrated a part from the man’s solo
in Les Sylphides, which he had learned from the great
choreographer, Fokine, during his visit to Australia with the
de Basil Ballet Company.’
Peacetime found Lee once more ‘on tour’, this time as soloist
and ballet mistress with the newly formed Borovansky
Ballet. Life was obviously buzzing along! Photographs from
the era show her as a resident of Sydney’s famous Merioola
artists’ colony, living under the same roof as celebrated
painters and designers, Justin O`Brien, Donald Friend, Loudon
Sainthill, Arthur Fleischmann and Jocelyn Rickards.
REMEMBERING
ALISON LEE
Alison Lee at His
In December 1939 a ship berthed briefly
in wartime Fremantle. On board were
members of Col. W. de Basil`s Russian
Ballet, a Company bypassing Perth and
sailing to long seasons in our Eastern States'
capitals. Among the dancers was young
Western Australian, Helene Leneva, who
was destined soon to perform in the world
premiere of David Lichine`s Graduation
Ball in Sydney’s original Theatre Royal:
‘Graduation Ball is a tremendous success’,
she wrote in letters home. ‘Each week we
rehearse for the next programme, starting
each day with classes at 9am, followed by
rehearsals until 12.30pm. Afternoons we
work from 3pm until 5pm and then we are
free until the evening performance. There
are two matinees a week. It has meant
hard work for all with three or four new
ballets each week to rehearse.’
After a strenuous but exciting tour lasting
eight months, Col.de Basil and his Company
sailed away to America, leaving behind
Helene Leneva. She instead boarded a
train and travelled overland to her ailing
father in Perth, discarded her Russianesque stage name and resumed life as
Miss Alison Lee, ‘the well-known Western
Australian dancer’.
Born in WA in 1908, Alice Kathleen Lee
began training at Linley Wilson`s School Of
Dancing in 1926. As the State’s first true
teacher of classical ballet, Wilson soon
recognised Lee’s potential and featured her
prominently in productions at His Majesty’s
Theatre. Such was her talent that Alice –
now Alison -- ran the School when Wilson
spent all of 1935 in England. 1935 was
also the year that Perth saw the inaugural
visit of a representative from the Royal
Academy of Dancing and Lee became the
first person ever to pass four major RAD
examinations in four days. She became,
too, the first Australian to gain an Advanced
Teachers Certificate.
6
By then she was creating works of her own,
giving solo recitals at the Repertory Club,
His Majesty’s Theatre and The Assembly
Hall in Pier Street. In those ventures she
was assisted by eminent photographer,
Axel Poignant. A local resident at the
time, Poignant lit her shows and used his
camera to capture striking images of her
in performance. It was he who arranged
her audition for visiting American dance
personality, La Meri. Study in Europe was
La Meri’s advice. Determined to act on
that advice, Lee leapt into 1937 with an
ambitious savings plan. Money came from
teaching, more from a series of talks she
gave on ABC Wireless. All this, however,
was gambled on a fund-raising Gala
Farewell Recital at His Majesty’s Theatre. A
diary entry states: ‘If I lose on it my London
trip is off’. The event made a profit and she
spent the next two years in London and
Paris, learning from luminaries like Marie
Rambert and Ninette de Valois and dancing
in Massine’s Ballets Russes de Monte Carlo.
In truth she was pirouetting her way into
World War Two…
Troops wait for a concert in New Guinea
during WW2, 1945.
Majesty’s Theatre,
1935, photo by Ax
el Poignant
With the de Basil period over and done with, here in
her hometown the artist formerly known as Helene
Leneva, reopened her Studio and turned again to
teaching and to solo recitals in The Assembly Hall.
This was wartime however, so she enlisted in Army
Intelligence, an occupation that sent her to Sydney in
1944. From there she and two Dutch dancers were
despatched to the jungles of New Guinea to entertain
the troops. Trekking from one makeshift stage to
another, this chorus line of three did their patriotic
duty and brought a flash of feminine glamour to our
battle scarred, sex-starved ‘boys’ up North. As she
wrote in her diary:
Here in the West, audiences saw her again in 1950, with the
Australian National Ballet at the long gone Capitol Theatre in
William Street. The following year she came to His Majesty`s
Theatre, dancing the Thippa Thippa Bird in Corroboree;
staged as part of the nation`s Jubilee Celebrations. This was
to be a ground-breaking work set to John Antill’s haunting
score and choreographed by Rex Reid, the future Artistic
Director of West Australian Ballet.
e de
e in “Clair
Alison Le ken in 1950.
ta
la Lune”,
Alison Le
e,
courtesy photographed by
Mitchell Li
M
brary, Sta ax Dupain c1940
,
te Library
of NSW.
In the following years, Lee enjoyed a long
association with the Victorian Ballet Guild
during which she produced dance works
for television and created routines for the
showgirls at the Tivoli. The Melbourne
phase was interrupted in 1957 when she
came back to Perth to teach and produce
for Linley Wilson. While here she could
be found at the Playhouse Theatre
choreographing The Good Oil – Coralie
Condon`s remarkable musical comedy
inspired by the State’s then most recent
boom; the one concerning oil shares!
we arrived unexpectedly
‘Our troubles began when
es. In Wewak we were
in areas with no theatr
es of using the boxing
taken to see the possibiliti
feet above the ground
r
ring. Standing about fou
ng turned into a stage.
it was in the middle of bei
with a dressing room at
Built in on three sides
curtains as a back cloth it
the back and parachute
ed. A suitable flooring
ter
couldn’t have been bet
cian came to the fore
was found and an electri
of strong globes backed
with footlights – a string
the light on the stage.
by tins cut down to throw
marked out. Boxes,
ady
Reserved seats were alre
er odd looking bits of
tin cans, barrels and oth
ting accommodation
carpentry comprised sea
incline for front stalls.
on the rough and rocky
pe of empty bottles, old
sha
Reserved tickets in the
on paper placed on the
boots, stones and names
on the seats and were
seats marked ownership
morning. The unreserved
placed there early in the
ore 3 o/c [sic] carrying
bef
usually started arriving
rels and spent the time
their own boxes and bar
playing cards, reading
before the performance
es of bully beef. When
and eating their sandwich
make up and dress we
to
]
we arrived at 6 o/c [sic
the usual calls we got
were greeted by cheers and
y.’
so used to from the Arm
Alison Lee’s rich, colourful and
adventurous career ended when she
retired to her native soil in 1974 .She
died a decade later but her memory lives
on in a small but fabulous collection of
memorabilia gifted to the Museum Of
Performing Arts by her niece, Pamela
Hesling.
Ivan King is Curator of the
Museum of Performing Arts at
His Majesty’s Theatre.
Alison Le
e
students (far left) as part
. This Gre
of a trio
of
ek
House in
the 1930 Dance took place Linley Wilson’s
’s.
at Govern
ment
rformed
ramme, pe .
oree prog
51
The Corrob ty's Theatre in 19
es
at His Maj
Images courtesy of the
WA Museum of Performing Arts.
7
WAB ON TOUR:
BALANCHINE ON THE BEACH
DANCING WITH THE STARS
& UNDER THE STARS
By Education and Access Manager
Deborah Robertson and
Education Officer Rebecca Sneddon
With support from our
Principal Partner Woodside,
each year the WAB education
team heads north to
Karratha to work in
schools and with the local
dance community. This
year however, we got to do
something entirely new.
On Saturday June 6, WAB played to a sell-out audience on the beach at Hearsons Cove
in Karratha. A special curtain-raiser for the event involved 11 of the Pilbara’s best young
dancers performing a work created for the evening by choreographer, Amy Wiseman.
It was a stunning night under the stars in Karratha!
A very special opportunity was
given to a number of young
dancers from Karratha, to
perform alongside WAB in a
piece created specifically for
them. After auditioning many
hopefuls, 11 dancers (nine girls
and two boys, aged 11 -15) were
selected to work with Perth
choreographer Amy Wiseman.
Over a number of weekend
rehearsals in Karratha, the group
set to work on a new ballet
inspired by George Balanchine.
The buzz in the rehearsal studio
was extreme, the students could
barely contain their excitement
as they came to terms with the
fact that they would not only
perform in front of 800 people at
Hearsons Cove, but would also
get to meet the whole company.
What a dream!
On the night of the performance
the children had butterflies
in their stomachs and stars in
their eyes as they practiced
and prepared beside their
idols. Under a canopy of stars
the young dancers performed
beautifully and were a triumph.
Could we have seen a future star
of West Australian Ballet?
m and dance
follow my drea
y
da
e
on
to
I wish
ved meeting
the world. I lo
nd
ou
ar
ay
w
y
m
h Hepburn who
especially Sara
all the dancers
e. My dad said
d friendly to m
at's a really
was so kind an
d
is again an th
th
to
go
ld
ou
he w
e WA Ballet to
n't wait for th
ca
I
g!
in
th
g
bi
ha. – Sarah, 11
return to Karrat
It has hone
stly been a
dream, to d
on stage in
ance
front of mo
re people th
I co u ld ’v e
an
e v e r im a g
in e d , in cl u
WA Ballet,
d in g
is amazing.
Meeting all
dancers wa
the
s an incred
ible experie
they were
nce,
all extreme
ly nice and
took the tim
they
e to talk to
us, wish us
luck and sign
good
our shirts –
Alex , 13
b e in g a
th o u g h t
what I
I a lw a y s
ancer was
d
l
a
n
io
ss
profe
now it's
o, now I k
d
to
d
te
n
wa
Lilly, 12
nt to do. –
what I wa
8
GREAT LEAPS!
Have you heard about WAB’s Bankwest
Great Leaps programme? Great
Leaps memberships offer $10 tickets
to WAB seasons, as well as other
great opportunities, such as special
workshops and masterclasses, and info
about what’s on for young dancers at
the West Australian Ballet Centre.
Open to all students of dance schools.
For more information see
waballet.com.au > learn > great leaps
9
BALLET MAKES YOU HAPPY…AND WELL!
By Education and
Access Manager,
Deborah Robertson
‘GAME READY’!
DANCE FOR PARKINSON’S –
DANCE AGAINST DISEASE
WAB is proud to be hosting the Dance for Parkinson’s programme at the WABC
each Friday morning. Run in partnership with Parkinson’s WA and Ausdance
WA, the programme gives people suffering from Parkinson’s Disease (and
their carers) the opportunity to improve lifestyle and mobility. Dance provides
exceptional benefits to health and wellbeing.
Each class contains a range of dance styles for seated and standing movement,
and carefully selected music accompanies each routine. ‘It emphasises
dancing for dancing’s sake while addressing Parkinson’s specific concerns
such as balance, flexibility, coordination, gait, social isolation and depression’
says Randy Baker, Parkinson’s WA Community Liaison Officer. Recently the
group watched the WAB company dancers in morning class and all came away
inspired and with big, beaming smiles.
‘My heart is full happy. At home I have to be so careful with how I move.
Here I get to be so free.’ – Dance for Parkinson’s participant
By Customer
Service Officer,
Amanda Leigh
Thank you for supporting this important
aspect of dancer health and assisting to
keep our dancers ‘on their toes’!
Alcohol.Think Again Ambassador
13 years! I was a figure
skater initially and my coach
recommended that I do some
ballet classes for flexibility and as
they say the rest in history. I first
danced professionally with The
Australian Ballet in their Swan
Lake season over seven years ago.
Can you describe a day in the
life of Polly?
Although my alarm is set for
7am I usually get out of bed at
8am. I normally have a healthy
breakfast and a coffee, giving me
the needed kick to start the day.
Before class at 10am I prepare
with Pilates and occasionally a
physio visit.
10
We have also recently been able to
purchase a second Cross Trainer to keep
up with demand and to enable dancers to
maintain their general fitness.
POLLY HILTON –
How long have you been
dancing and how did you get
your start in the professional
world of dance?
Polly Hilton
Katy Geertsen and
Kim Hopkins with Ste
wart West
and Ann Bordoni. Pho
to by Marcus Whisso
n
After a full day of class and
rehearsal I love to get home, put
my feet up with a cup of tea and
watch some Netflix. I try to head
Your gifts towards Dancer Health and
Wellbeing have enabled a high-tech ‘Game
Ready’ freezer blanket to be purchased for
the Company. Head of Dancer Wellbeing,
Jenny Woods notes: ‘This piece of equipment
is the most effective treatment in
decreasing pain and swelling post injury or
operation. It helps accelerate and enhance
recovery by using intermittent compression
and cold therapy. The injured part is placed
in a cuff which has circulating iced water
and this is compressed at chosen intervals.
It can be set to work during the night in the
initial stages. The dancers who have used
it have commented how effective it is and
how much they appreciate it.’
out and catch up with friends a
few times through the week.
What are your key tips on
staying healthy as a ballet
dancer?
• Drink as much water as you
can – it’s always important to
stay hydrated;
• Exercise outside ballet class –
keep up your cardio health;
• Invest in a solid amount of
sleep each night; and
• Have a healthy work/life
balance. An outdoors life helps
keep everything in perspective
and it’s easier to come back
fresh the next day.
Apart from dancing, what do
you enjoy doing in your spare
time?
I love reading and going to the
cinema to watch independent
and art house films. On Sundays
my boyfriend and I have started
a tradition of spending the day
hopping between coffee shops
in Fremantle and Mandurah. We
love riding around and just seeing
what places we can stumble upon.
Did you know that WAB offers a range of adult public classes?
Whether you want to try something new for fun and fitness, or
dust off an old pair of ballet shoes, there is a range of evening
classes available for every ability level.
All classes take place in our state of the art studios in Maylands
and are taught by WAB dancers or other professionals. To find
out more, visit waballet.com.au > learn > adult-dance-classes,
or call our Education Team on 9214 0709 to find out more.
Andries Weidemann
teaching Beginners
Ballet.
Meg Pa
rry
Advance teaching
d Ballet.
Dancing makes
you SMARTER
A 21-year study of senior citizens,
75 and older,
was led by the Albert
Einstein College of
Medicine in New
York City, funded by
the National Institute on Aging,
and published in the New
England Journal of Medicine.
What does it mean to you, to
be Healthway’s Alcohol.Think
Again Ambassador?
Education about alcohol is so
important and as the ambassador
I can join in sharing the message
of Alcohol.Think Again with many
people. As a dancer I have to keep
my body in great condition and be
aware of what affects my body
and that includes the intake of
alcohol. Many people don’t know
or understand the negative effect
that alcohol can have.
As a result of the generous support
of our sponsors such as Healthway,
we are able to promote really
important messages like Alcohol.
Think Again and to stage wonderful
productions, such as our season of
Coppélia.
ADULT CLASSES - YOU TOO CAN
DANCE WITH THE STARS!
% = Reduced Risk of Dementia
0% in Bicycling, swimming or playing golf
35%in Reading
47%in Doing crossword puzzles at least four days a week
76%in Dancing frequently
Dancing
'.
using 'Game Ready
Alessio Scognomiglionev
Pev
gey
Ser
by
Photo
• Reduces stress and depression
• Increases energy and serotonin
• Improves flexibility, strength, balance, endurance
• Strengthens bones and boosts cardiovascular health
• Increases mental capacity by exercising out
cognitive processes
• Dynamic and rapid-fire decision making creates
new neural paths.
11
Coppélia Campione | Wednesday 18 June
patron profile Lejo Ouwendyk
The riverside home of Grant Young and Margy Hegney-Hall was the stunning setting for the launch
of our Coppélia Campione campaign. Patrons enjoyed an exclusive opportunity to witness firsthand
the creation of the Coppélia doll (dancer Sarah Hepburn) by make-up artist Natalie Way and Head of
Wardrobe Lyndell Darch, and a special insight from Set Designer Hugh Colman.
By Philanthropy Manager
Catherine Henwood
Making a Difference
Hepburn,
nsky, Sarah
Denise Stra Andre Santos
,
rd
lfo
Te
Lisa
n&
Andrew &
ew Lehman
son, Matth
Gillian John
Lejo Ouwendyk understands what a difference
philanthropic support can make. In his role
as Managing Director of Kennerlys, an awardwinning, boutique accounting firm in Perth, he
has supported many local and international
projects and causes, including building a
40-bed dormitory in Kenya for an orphanage.
As accountants and advisors to many familyrun businesses and individuals in Perth and
across the country, Lejo describes his team’s
professional and philanthropic experience as
enormously fulfilling, and the smiles of Kenyan
children and adults that adorn the walls at
Kennerlys are a heart-warming reminder of
the positive impact philanthropy has on our
communities.
bs,
dison-Jaco
Brooke Wid ux-Coléno, Diana de
ro
Florence Le
a Culley
AM & Gen
Vos-Beck O
Aurélien Scan
ne
& Sarah Hepb lla
urn
Growing up amongst jazz bands (an amateur
jazz saxophonist at heart), Lejo has always
believed in the importance of the arts. Like
many, he feels an art-form like ballet not only
plays a pivotal role in the wider arts and culture
arena, but also brings a great degree of balance
to our community.
Hepburn,
pson, Sarah
ggy
Rodney Thom Georgiana Lilley, Pe
lley,
nson
ki
Rosalind Li
m
To
y
ar
sem
Ninkov & Ro
Linda Panizza, Rod
& Sarah Hepburn
Gonzales
Jon Buswel
Thanks to the generosity of
our Campione, over $100,000
has been raised towards the
set and costumes for this
beautiful new ballet; WAB’s
second co-production with
Queensland Ballet.
Ashleigh Bennett is one rising ballet star
benefiting from Kennerlys’ co-sponsored Young
Artist Programme. Ashleigh is able to immerse
herself in the world of professional ballet for a
year, working alongside West Australian Ballet
dancers in classes and rehearsals, receiving
invaluable stage opportunities and mentorship
that provide a unique and nurturing experience
in preparation for a professional dance career.
This is a rare opportunity in the world of
performing arts and it is only available with
the generous support of our Young Artist
Ashleigh Bennett, with Lejo Ouwendyk
Programme sponsors, who share our belief
in the importance of education, training and
investment in the future of ballet.
This philosophy resonates with Lejo, who
believes that all businesses should be active
in giving back to their communities. While
it is easy to look to larger companies to do
this, Kennerlys is making its mark through
investment in young creative talent on a
sustained basis and the Kennerlys team, their
clients and partners can all feel proud of the
difference they are making.
l & Hugh Co
lman
YOUR GENEROUS SUPPORT OF Young Artist training provides invaluable opportunities for Western Australia’s
most talented young dancers to have a future career in ballet. The WAB Young Artist and Masterclass
Programmes nurture and inspire the next generation of WAB ‘stars’.
nic & Matthew
Jim & Freda Ire
Lehmann
Steven Roth, Sandy Del
asalle-Scannella, Aurélie
n
Scannella, Margy Heg
ney-Hall, Grant Young,
Marilyn Burton, Matthe
w Lehmann, Pennie &
Rodney Thompson
Vale
Errata
It was with sadness that WAB learned the news
of the passing of long term supporter, Margaret
O’Halloran. ‘Margie’ was an avid balletomane and
passionate advocate for West Australian Ballet.
She will be missed by all the Company.
You may have received a Coppélia brochure
with an incorrect name or address. This
was due to a computer glitch when syncing
our mail list prior to post. Please accept our
apologies for any inconvenience.
SPECIAL thanks to Lejo Ouwendyk of Kennerlys and Patricia Gates for co-sponsoring young artist
Ashleigh Bennett and to Wesfarmers Arts, who proudly support Ben Obst.
Young Artist Snapshot
Benjamin Obst
Ben, 23, is a driven, passionate and dedicated young
man, who started dancing when he was 14, choosing
to pursue ballet seriously at 16. Six years later, after
opportunities with the Royal New Zealand Ballet and
Queensland Ballet, this talented young dancer has
fully immersed himself in the Young Artist Programme
at WAB.
Leave a lasting legacy
West Australian Ballet’s legacy fund is named after our founder, Mme. Kira
Bousloff. Bequests and major gifts to this fund are used to provide for the future
of West Australian Ballet.
If you would like information about leaving a legacy, please contact Philanthropy
Manager Catherine Henwood on (08) 9214 0707, [email protected] or go
to waballet.com.au > support > planned giving.
12
Lejo was first introduced to ballet through
his wife Lisa and later their daughters, who
are aspiring dancers. Lejo understands the
dedication, intense training, and the physical
and mental strength that ballet dancers
require to succeed. Through his company's
belief in education and training and 'giving
youth a go,' he decided to support the Young
Artist Programme at West Australian Ballet.
With Kennerlys’ own corporate internship
programme, this area of philanthropic support
within the arts felt like a natural fit.
Larissa Fernandez, Ben Obst, Helen
Wesfarmers Arts
Carroll,
From Hahndorf, SA, Ben discovered a passion for
cooking whilst working alongside his Dad, who owned
a chain of successful bakeries. By 14, Ben was more or
less a fully-fledged baker, his speciality being quiches.
During this time, he was also working alongside his
By Executive Assistant
and Philanthropy
Coordinator
Taui Pinker
mother on her farm, where she taught dressage and
cared for horses professionally.
With a strong creative streak, Ben also began
training in classical piano and voice (now being a
freelance songwriter and DJ) as well as competing
at a State level in tennis and football. Ben has even
been sponsored by ASUS to play computer games
competitively!
Ben has achieved so much in such a short time. With
his strong work ethic, tenacity and desire to achieve
at the highest level, Benjamin Obst will surely go far.
13
ANNUAL
GIVING
OPENING NIGHT WRAPS
Embraceable You: A Celebration of Balanchine | May 2015
Who Cares. Photo
by Sergey Pevnev
The first all-Balanchine programme
for WAB excited and captivated our
audiences in Perth and beyond.
‘As with all luxurious brands only
those capable of doing justice to
Balanchine’s work are allowed
possession, and this company
[WAB] has now become one of
the favoured few.’ The Australian
Carina R
oberts a
nd Adam
Alzaim in
Concerto Barocco. Photo by Sergey Pevnev
Jayne Sm
euld
Photo by ers Tarantella.
Sergey P
evnev
Genesis | June 2015
Jessica Allison-Walker in e Culure è Napule.
Photo by Emma Fishwick
Adam Alzaim and Reika Sato in Void.
Photo by Emma Fishwick
Another inspiring season
of short works from WAB’s
dancers was presented in
the Wesfarmers Salle of
the WABC in June - a rare
opportunity to experience
“…small moments of
profound joy…”
The Australian
West Australian Ballet gratefully acknowledges the generous support of our donors, who play
a vital role in bringing exceptional performances to our Western Australian communities.
IN RECOGNITION OF GIFTS RECEIVED BETWEEN 1 JULY 2014 AND 30 JUNE 2015
Patron, Private Giving
Mrs Alexandra Burt
Major Benefactors
Bendat Family Foundation
Angela Bennett
Minderoo Foundation
Westrac
Michael J.M. Wright
Bravura Circle $10,000+
Wesfarmers Arts
Alex & Julian Burt
Marilyn Burton
Rella Consultants
Gena Culley
McCusker Charitable Foundation
Wright Burt Foundation
Charles & Patricia Galluccio
Windsor Knight Pty Ltd
Dorothy & Allan Smith
Mary Ann Wright
Anonymous (1)
Director's Circle $5,000+
Susy Bogle
Vaughan & Libby Burt
Tim Bult & Lisa Church
Bux Family Foundation
Ian & Rosana Cochrane
John & Gay Cruickshank
Roger & Christine Davies
Davson + Ward Pty Ltd
Robert Edwardes
Patricia Gates
Eve Howell
Kennerlys
The Robert Kimpton Family
John Langoulant AO
Greg Meyerowitz
Kay Lee & Richard Murphy
Jane & Jock Morrison
Marylyn New
Peggy & Mladen Ninkov
The Stan Perron Charitable Trust
Ingrid & Mark Puzey
David & Rosalind Smith
Smith-Gander Family
Richard Tarala & Lyn Beazley AO
M & H Tuite
Simon & Alison Turner
David Wallace & Jamelia Gubgub
Heather Zampatti
Jessica Allison-W
alk
Law, Andrew Ra er, Alexandre Dahms, Yi Li
dak, Sarah Hepb
urn
Pevnev in When
I Go. Photo by Em and Sergey
ma Fishwick
Leading Artists' Circle $1,000+
Robert Aitken
Elizabeth Allen
Mike & Sandy Anghie
Monique Atlas & Kim Hawkins
Tom & Heather Bannerman
Allan Barbarich
Matthew J.C. Blampey
Peter Blaxell
Robert Branchi
Helen Burke
Christine & Kevin Cass-Ryall
Marie Leah Cicchini
Katrina Chisholm
Helen Cook
Lesley Davies
Michael & Wendy Davis
Rachelle Doyle
Adam Durell
Bev East
Lorraine Ellard
The Forrest Family
Dr Robin Kirk & Sarah Gallinagh
Kay Giorgetta
Rod Gonzales
Pippa Green
Scott Griffin
CJ Halvorson
Gerie & Ole Hansen
Lyn & Andrew Harding
Olive & Bill Henwood
Helen Hollingshead
Nicky & Laurence Iffla
Jim & Freda Irenic
Gillian & Stewart Johnson
Carolyn Kidd
Stephanie & John Kobelke
Debra Reinecke & Stuart Le May
Jacqui & Peter Macliver
John Martin
The Hon. Sheila McHale
Dr Andrew Miles
Lynn Murray
Callum Neil
Leanne O'Malley
Linda Panizza
Athena Paton
Rosemary Pratt
Satterley Property Group Pty Ltd
H.E the Hon. Kerry Sanderson AO
Howard & Lindsey Read
Steven Roth
Fiona & Kurt Sassenfeld
Eve Shannon-Cullity
Glenice Shephard
Joy & John Shepherd
Dr Peter Simpson OAM
Ian & Helen Smith OAM
Kate Sommerville
Clair & John Stanley
Robyn Tamke
Geeta Thakorlal & Alan Day
John & Soosie Thompson
Rodney & Penelope Thompson
Christine & David Thorpe
Rosemary & Neil Tomkinson
Beth Townsend
Siobhan Vincent & Associates
Diana Warnock AM
Alexandra Welch
Olive Wheeler-Brennan
WPO Perth Chapter
Anonymous (6)
Artists' Circle $500+
Bradley Andrews
Su Baker
Peggy Barker
B. Barrett-Lennard
Shirley Barraclough
John Barrington
Lauren Brent
C & K Brownlie
Kim & Valerie Cottrell
Mark Dawson
J. Fairweather
Martyn Flahive
Tracey Feakes
Barry & Frieda Gibson
Deidre Greenfeld
Robin Groom
Susan Grylls
Karen Heagney
Friends of His Majesty's Theatre
Catherine & Will Henwood
Peter Hodge
Nicholas Kailis
H.K.M.
Francis Landels
Megan Lowe
Reinhardt Matisons
Gaye & John McMath
Dr Karen McQuillan
In Loving Memory
of Anna Mercer
Susan Merritt
Gregory Mogan
Preben & Amy Nielsen
Julie Norton
Dr Frank O'Keeffe
Pamela Platt
Aurélien Scannella
Mr Stuart Strickland
Jayne & Jon Smeulders
Dr Louise Smyth
Denise Stransky
Paul Underwood
Helyn Verry-Baker
Siobhan Vincent & Associates
Joy Wearne
Margaret Whitter
Janet Williams
Anonymous (7)
Friends' Circle $75+
195 Supporters
Kira Bousloff Bequest Circle
West Australian Ballet
recognises those who have
chosen to support the future
of ballet through our planned
giving programme.
Ella Fry Bequest
Andrew & Del McGuiness
David & Rosalind Smith
In memory of Colleen Clifford &
Terry Ashton-Wood
Olive Wheeler-Brennan
Freddi Wilkinson
Anonymous (4)
Jesse Holmes, Reika Sato and Matthew Lehmann
in Nostalgia. Photo by Emma Fishwick
Online donation
14
Choreographers' Circle
$2,000+
Helen Ansell
Neil Archibald
& Alan R. Dodge AM
Tony & Diana Beck
Tony & Mary Beeley
Sally Burton
Carol Conley
Mrs S Gillett
Rob Gillett
Dorothea Hansen-Knarhoi
Bernard Hart
Gill Holly
Dr Keith Holt
Kevin Jackson
Paul Jones & Clair Medhurst
Lance Kerr
Rosalind Lilley
Dennis & Margaretha Maltz
and Mary Cheng
Tony & Gillian Milne
Paul Naughton
In memory of Patricia Protter
Jan & Alan Stewart
Lawrie Tremaine
Juerg & Elisabeth Weber
Friends of West Australian Ballet
Jim & Gill Williams
Making a gift has never been easier... simply go to waballet.com.au and follow the prompts.
15
5
MINUTES
WITH ROBERT
EDWARDES
What are you hoping to achieve as Chair of West Australian Ballet (WAB)?
A FEW SPECIAL
VISITORS TO
THE WABC
Dockers players’ Tendai Mzungu and Garrick
Ibbotson made a special visit to the WABC on
Monday 29 June to pass on some footy tips to our
ballerinos ahead of the Coppélia season. Updated
to 19thC Handorf South Australia, the opening
scene of Coppélia has the boys involved in a
village footy match. In return our dancers gave
the lads a quick lesson in foot work. Hopefully
this will be a game changer for them in the finals
season ahead!
To greatly expand the size of audiences coming to see innovative world class dance – both
at home and abroad. I’m particularly interested in seeing more young people turning up
and sharing news about the ‘cool experience’ with their friends on Facebook and Instagram.
I also want to take the Company on tour to our Asian neighbours, including China, Korea,
Singapore and maybe Myanmar.
What exciting things do you see ahead for WAB?
My hope is to create a reputation for the company and its dancers which has people coming
to see every performance because they know the total experience will be wonderful, even
if the titles are unfamiliar. To this end we want to work on upgrading the total customer
experience, including before and after options that enhance the main event. We will also
be considering new and different venues, attractive ballet merchandise, and increased
access to the dancers.
What was your attraction to WAB?
u & Garrick
Tendai Mzung Members
ny
with Compa
u & Garrick
Tendai Mzung WAB
de
tsi
ou
n
tso
Ibbo
Quite simply the sheer quality of the performances – sets, costumes, music and of course
the dancers themselves are superb. The enthusiastic audience response to the Balanchine
series was testimony to what this Company can now deliver – I don’t think I have ever
experienced such theatre excitement on the opening night – whoops, whistles, cheering,
foot stomping like I’ve never heard before!
What interests do you hold in the Arts?
My mother took me to my first ballet in Sydney when I was eight years old and I was
hooked. This was a very long time ago and before The Australian Ballet was founded. In
the early fifties the Australian company was the Borovansky Ballet and performed at the
Sydney Town Hall. I loved it but suspect it was relatively amateurish. I certainly remember
the sound of feet hitting the timber floorboards – so loud at times you could hardly hear the
orchestra – but the whole experience appealed to me. Later in life I experienced ballets as
diverse as The Nutcracker in Seattle and the Royal Ballet performing Swan Lake in Albert
Hall. Probably my most treasured memory was seeing a one night only performance by
Dame Margot Fonteyn and Rudolph Nureyev at the Sydney Elizabethan Theatre in the
early sixties.
Tendai Mzungu
& Ga
Ibbotson enjoying rrick
a
fitting with Lynde costume
ll Darch
ndai
lle teaching Te
Sandy Delasa rah Hepburn
Sa
t
Mzungu to lif
On Friday 22 May, WA Premier The Hon. Colin
Barnett took some time out of his busy schedule to
make a visit to the WABC and meet the company. It
is the first time he has had the opportunity to see
the WABC in full swing since cutting the ribbon at
the opening in April 2012.
What are your personal passions for the Arts?
At the age of 15 I had to choose between a career of music (my mother’s preference) or
engineering (following my dad’s example). I had been learning the classical clarinet for
over 5 years and had become very proficient. After auditioning and being accepted into
the Sydney Conservatorium the debate commenced at home, with my father ultimately
prevailing. Who knows where my life might have led me if my mother had won out! In any
event I have a deep love of music of all kinds, with an unexpected penchant for country and
western. My wife and I travelled with my best friend to Nashville recently to celebrate a
milestone birthday together and it was a truly great experience. My eldest daughter Claire
went on to make a career out of music and is now regarded as Australia’s pre-eminent
orchestral percussionist. She visited recently and performed a concerto with WAYO at the
Perth Concert Hall to critical acclaim. For me the arts are a fundamental ingredient in life.
So let me finish with a particularly relevant quote from Maria Shriver: ‘Art is fundamental,
unique to each of us…even in difficult economic times - especially in difficult economic
times - the arts are essential’.
Dr Robert Edwardes is Executive Vice President, Development at Woodside
and the new Chair of West Australian Ballet.
16
Ibbotson
Premier and dancers at
WABC 22 May 2015
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