ballet news - West Australian Ballet

balletnews
PATRON
Her Excellency the Hon. Kerry Sanderson AO
Governor of Western Australia
PATRON, PRIVATE GIVING
ALEXANDRA BURT
SPRING 2014
SOLOIST SARAH HEPBURN ON SUCCESS
WAB’S DEBT TO DIAGHILEV
MORE THAN ONE STRING
TO DANIEL ROBERT’S BOW
BACKSTAGE @ LA FILLE
Principal partner
Steven Roth Chief Executive
A big thank you to all who completed the survey in
the Autumn edition of Ballet News. We were more
than delighted that 95% of respondees indicated
that they were pleased to receive Ballet News,
and have provided considered and thoughtful
comments about the publication.
Many of your suggestions have been incorporated
into this latest edition of Ballet News, reflecting
our continuing aim to provide insights about our
talented dancers, the company, productions and events for your interest
and enjoyment. Your feedback is always welcome, so please don’t
hesitate to send through comments or suggestions at any time.
In this edition we reflect on the creative legacy of our past creative
directors, all the way back to the formative influence of Diaghilev’s
Ballets Russes. Over the past 62 years WAB has woven an extraordinary
tapestry that has influenced generations of dancers and enriched our
communities in a myriad of ways.
ALEXANDRA BURT Patron, Private giving
I believe that each of us leaves a legacy on
this planet. Whether it be material or spiritual,
family or professional, it is one of our important
duties. We are only here for a short time ‘in
transit’, so we all need to make sure that what
we leave behind is the best it can be for the
future generations.
Hopefully one of the many little legacies
resulting from my time here in Perth will take place on the 20th of
November. This year is the 100th anniversary of Wesfarmers and on the
20th there will be a big gala dinner in Perth to celebrate their significant
milestone. So what is this little legacy?
Well… since Wesfarmers is one of WAB’s longest term major sponsors,
and a proud Western Australian company like WAB, they would like
us to be involved in the dinner with a performance. Unfortunately the
timing isn’t good, as this date is the final general rehearsal for Snow
Ballet lovers and critics alike around the
country have had their eyes drawn west
over the past few years by the brightness
and energy of this ever-growing company.
Year by year, its profile has lifted to the
point where it is recognised not only as
the oldest ballet company in Australia, but
also one of the greatest and an undeniable
magnet for audiences looking for the best
from this artform.
However you support WAB, whether a spectator or active participant
(and that list of examples is very long!) the part you now play or the
legacy you leave, adds layer on layer to the rich creative tapestry that
is your West Australian Ballet Company.
Steven
‘THEY’VE DONE IT AGAIN!’
It should be a headline in the national
newspapers, screaming out about yet
another incredibly successful year for
West Australian Ballet. The rest of the
article might go something like this:
AURELIEN SCANNELLA Artistic Director
Dear WAB friends and supporters
disappoint. Thanks to Aurélien, Perth
and Canberra audiences have now had
the chance to see ‘La Fille Mal gardée’,
a stunning and joyful gem that is rarely
performed anywhere in the world, and
the year finishes on another high with the
Australian premiere of ‘Snow White and
the 7 Dwarfs’.
And on the topic of enriching communities, West Australian Ballet is
very proud to be partnered by two outstanding corporations who this
year celebrate significant anniversaries: Wesfamers has achieved its
100th year of operation, beginning life as the Westralian Farmers Cooperative; and another WA corporate icon, Woodside, has reached its
60th year as Australia’s number one oil and gas producer. Likewise,
our partner in performance, the historic His Majesty’s Theatre – one of
only two ‘His Majesty’s’ left in the world (the other is in Aberdeen) –
celebrates its 110th year in show business.
White and the 7 Dwarfs, and every one of our male dancers is required
on stage. So… you may have guessed it… after six years of retirement
from dancing I have decided to perform again, so that we don’t let our
wonderful sponsor down. Soloist Sarah Hepburn and I will perform a
special pas de deux on Cry me a River created by Jayne Smeulders.
Like you all, dear friends, Wesfarmers is a great supporter of WAB and
I couldn’t imagine a better way to say thank you to them and to reenforce our relationship. To be back on stage after such a long period
is for sure a big challenge, but it is also my way of expressing my love
and support of our beautiful West Australian Ballet Company. So it’s off
to the gym again for me today… and tomorrow…and…
One thing is certain – life wouldn’t be the same without the arts and
Perth wouldn’t be the same without WAB. So let’s all, together, continue
to support our ballet company and leave little lasting legacies that
will ensure our children and our communities enjoy ballet in Perth for
years to come.
Just like an unbroken string of great wine
vintages, West Australian Ballet has again
presented audiences with an outstanding
year of dance with a dynamic programme
of everything from the oldest of ballets
(Giselle) to the newest (‘Radio and
Juliet’). After six successful years under
the stewardship of Ivan Cavallari, 2014
was the first year programmed by artistic
director Aurélien Scannella and it didn’t
Some
significant
anniversaries!
Aurélien
New
arrivals
We welcome new dancers to the
company: Australians Christopher
Hill, joining us from the Royal Ballet of
Flanders and Kymberleigh Cowley from
Vienna Festival Ballet, along with Britishborn Matthew and Oliver Edwardson
(yes twins!) and from Japan, Reika
Sato, all previously with the Victor Ullate
Ballet, Madrid.
We also welcome Kate Ebsary into the
role of Deputy Wardrobe Supervisor and
Danielle Miller as Wardrobe Assistant.
Danielle Miller
Matthew & Oliver Edw
ardson, Reika Sato,
Kymberleigh Cowley
and Christopher Hill
Front cover image: Sarah Hepburn, photo by Sergey Pevnev
Fond Farewells
After nine years with WAB, Alessandra D’Arbe
is hanging up her pointe shoes and emigrating
to Italy with her partner, artist Francesco
Villicich, and dancer, Dane Holland, has
recently taken a position with Ivan’s company,
Ballet de l’Opéra national du Rhin.
Principal dancers
Fiona Evans and
Sergey Pevnev
have recently
celebrated the
arrival of their
second child –
a beautiful baby
girl, Alesya.
We also farewell from Wardrobe, Alexandra
Crosby, who is moving to Switzerland.
Fiona Evans with daughters Nadia &
Kate Ebsary
Looking back, the company can reflect on
the last decade with a justifiable sense of
achievement and pride. Looking forward
and with excellence always in its sights,
the company has so much to be excited
about.
I’m certainly no journalist and this is almost
too good a news story to be printed by any
newspaper (not enough drama, intrigue,
betrayal or violence probably) but that
doesn’t change the fact that every word
is true. Our company, your company, has
so much to be proud of and I for one can’t
wait to celebrate more milestones in 2015
and beyond. West Australian Ballet is well
on its way to making its mark in the history
books for more than just its age. What a
wonderful thing to be a part of!
But as always, we can’t do this alone. We
need your support both in the theatre
to encourage and applaud, and through
your financial support to help us to
raise the significant budgets required to
produce work of this calibre. We are part
of this community of arts lovers, and our
communities are the beneficiaries of all
that the company delivers. Thank you
for your continued support and we look
forward to seeing you in 2015.
Alexandra
2014 is a year of milestones in WA. It is the 110th anniversary of Perth’s much-loved His Majesty’s
Theatre, our historic performance home. It is the 100th anniversary of Western Australia’s most
important ‘grass roots’ company, Wesfarmers – a proud supporter of WAB and the arts in WA for
many, many years. And it is the 60th anniversary of our Principal Partner, Woodside – Australia’s
largest and most successful oil and gas producer. Together with West Australian Ballet’s 62 year
history, our organisations account for 330 years of lasting legacy to Western Australia and our nation.
We say Happy Birthday and applaud their success!
FROM THE GREENROOM
Welcome
Its future looks equally bright with an
electric line-up for 2015 including a full
bill of premieres at the Quarry season,
‘Cinderella’ and ‘Coppélia’, both classics
exquisitely and sympathetically reimagined for 21st century audiences,
and, in a coup for the company, a full
evening of works by one of the world’s
greatest ever choreographers, George
Balanchine, under the title, ‘Embraceable
You’. Balanchine’s choreography can
only be performed with the permission
of The George Balanchine Trust and under
strict performance guidelines, and whilst
the company has performed individual
Balanchine works in the past, this is the
first full programme of his works. The Trust
is known for its extremely high standards,
so this permission is a tremendous
endorsement of the WA Ballet and its
calibre of dancing.
We wish them well in their forthcoming
endeavours.
Leave a lasting legacy
West Australian Ballet’s legacy fund
is named after our founder, Kira
Bousloff (whom you can read about
later in this edition). 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.
Alesya
3
By Young Artist
Emily Luxton
in the spotlight
Sarah Hepburn, Soloist of West
Australian Ballet, may be small, but
don't let her petite size fool you, she's
WAB's own pocket rocket. The grace,
style and charisma she brings to the
stage has delighted Perth audiences
for many years.
Born in Melbourne, Sarah moved to Perth
with her family at just 18 months. Sarah's
first memory of dance is performing the
lead role in a piece called "Siamese dancers"
at three and a half years old. Professional
dance training began with the Stevens Dance
Academy (now called Academie Etoile).
At 15 years old Sarah was accepted into the
Western Australian Academy of Performing
Arts (WAAPA). In her graduation year she
auditioned for West Australian Ballet and
three weeks before her final performances,
Sarah received a phone call with an offer of
a Young Artist contract – the first ever Young
Artist position with the company. Her fellow
colleagues Meg Parry and Victoria Maughan
were also accepted into the Young Artist
Programme.
SARAH HEPBURN
WAB’s ‘POCKET ROCKET’!
By dancer
Meg Parry
DANCING TO
DANIEL’S TUNE!
Home grown Aussie, Daniel Roberts, is
renowned for his talents on the stage,
as well as his exceptional talents as a
captivating, innovative choreographer.
Sitting down with Daniel is always
entertaining and getting to go inside
of his choreographic brain was no
different. Daniel has been creating
dance works of his own for quite a few
years, his first being Hold the Fourth for
Singapore Dance Theatre’s choreographic
workshop.
Fast forward a couple of years and having
joined WAB, Daniel was given the opportunity
to create a piece for the whole company,
Jubilate, to celebrate the opening of the new
roles but also made me work harder as I feel the
higher you go in rank the harder you must work.
I always love a challenge, I find that it is easy to
be pigeon-holed as one type of dancer and so I
like to be given the opportunity to try different
styles or characters to prove to audiences that I
am not just one type of dancer. I like to be able
to prove it to myself as well.’
Sarah & Sergey Pevnev in
La Fille. Photo by Emma Fishwick
Sarah is influenced by watching famous
ballerinas such as Marianela Nunez on YouTube
(a thing we share in common; do watch her,
she's fantastic!). And her greatest support is
husband Dan who ‘encourages me in all my life
decisions.’
Sarah has gone on to have a very successful
career with WAB. In her second year with
the company she received the opportunity
to dance Juliet in Youri Vamous' Romeo and
Juliet: ‘I was only in my second year, and was
so nervous before the opening night, but as
soon as the curtain came up I just enjoyed
every second of every performance.’
Juliet, together with Giselle from Aurélian
and Sandy's version of Giselle have been two
of her favourite roles. Both were performed
with the exceptional Sergey Pevnev, Principal
Dancer with WAB. ‘Every show was such
an emotional journey, I love performing
dramatic roles. It (Giselle) was a role I never
thought I would dance as I never thought
I was suited to it. I had many intense, but
rewarding, rehearsals with Aurélian and
loved every second of it.’
On being promoted to company Soloist, Sarah
says: ‘I was very excited being promoted to
Soloist. It meant I received many fantastic
WABC in April 2012. Daniel credits this as
a highlight, as it was the first time creating
something with a special purpose in mind.
Other highlights include taking this work and
expanding it for the 2013 ‘Ballet at the Quarry’
season and now, preparing for his second major
work to be premiered at the Quarry in 2015.
Jubilate was Daniel's first main stage experience
with WAB and such a huge task could have
been quite overwhelming for someone quite
young, but Daniel's confidence shone through
and Jubilate ably demonstrated how to bring
movement, colour and dancers together to
create something that is entertaining to watch,
as well as being a great piece to perform.
Looking ahead to Quarry Season 2015, Daniel
is not only honoured to be given another
opportunity, but is looking forward to 'learning
from last time' and using those tools to better
communicate his ideas. One of the most
important things he has learned, is how much
he enjoys the collaboration process with
Sarah in rehearsal for
Giselle with Andre Santos.
Photo by Sergey Pevnev
When asked what she loves most about working
at WAB Sarah says: ‘The things I love most are
the beautiful people that we work with every
day. The dancers are all hard workers but
always happy and friendly and encouraging to
everyone. We really have a wonderful company
of dancers.’ Sarah's hard work and friendly
everyone from wardrobe and technical
production, to creating on his dancers.
I think one of Daniel's best choreographic
tools is humour, which was seen in both
Jubilate and his piece for this year’s
Genesis programme – Unexpected
Consequences. Daniel’s original idea was
to create movement never seen before
and to work within a confined theme,
with music constructed in a different way.
Also to shape the movement so it was
not only engaging for the audience, but
pushed himself physically and mentally.
What resulted was Hold the Fourth (part
one) a bold, stunning and technically
demanding pas de deux. The piece for
Quarry 2015 will be a continuation of this
original Genesis creation.
So how does Daniel go about delivering
on such a huge opportunity? Music plays
a key role for Daniel and is generally the
personality is the reason I admire her; she
is someone who has overcome the many
challenges dancers face throughout their
career and has risen to be a beautiful and
bright star on His Majesty's stage.
As for her advice to young hopeful dancers:
‘I have to keep reminding myself that it
doesn't matter which school you trained
at or which company you've been in, what
matters is how hard you work every day,
how much information you can soak up
from all your teachers and apply it as best
as you can. It's up to you as a dancer to
determine how well you do.’
first thing he decides on. With regard to
the movement, Daniel is always quite
clear and assertive about what he wants
and as a dancer, working with him is
always a satisfying combination of give
and take, along with the freedom to
have your own stylistic qualities. Hold
the Fourth is a huge creation, both in the
movement as well as the collaborations,
including composer Caitlin Woods, who
is creating some stunning sounds to
match Daniel's big ideas.
I think Daniel's pieces are always
challenging and exciting for dancers
and captivating for the audience. I have
no doubt that this is because Daniel
believes ‘choreography represents the
choreographer in that moment of their
life’. I have no doubt that we can expect
to see a lot more of Daniel on and off
the stage for a long time to come. And
I for one can't wait to see what’s next.
Sarah in rehearsal
with Sergey Pevnev
for La Fille mal gardee
Photo by Jon Green
Your generous donations
towards Repertoire
Development and Artistic
Director’s Discretion,
gives young Australian
choreographers like
Daniel the opportunity
to develop their skills
and talent in a positive,
nurturing environment.
It is an investment in
our creative future.
Daniel & Brooke Widdison-Jacobs
in Radio and Juliet. Photo by
Sergey Pevnev
5
Phebe Sleeman & Melinda Henderson
Andre Santos Hitching a Ride
Robert Mills with Melinda Henderson & Ariane Robinson
Matthew Lehmann Getting Ready to Go Onstage
Andre Santos & Alessio Scognamiglio
The kids from La Fille
Daniel Roberts foreground with Matthew Lehmann & Sarah Hepburn
An intimate glimpse backstage at
La Fille mal gardée
Photos by Sergey Pevnev
Alexandre Dahms & Chloe Henderson
Victoria Maughan, Melissa Boniface & Polly Hilton
7
An intimate glimpse backstage at
La Fille mal gardée
WAB’S RICH
CULTURAL LEGACY
By dance and
arts writer
Lee Christofis
Leonardo Laurent Mancuso
Robert Mills
After 650 performances in four capital cities over four years,
Col. Wassily de Basil’s three Ballets Russes companies (the evolution
of Serge Diaghilev’s Ballets Russes left Australia in a dizzying state of
balletomania. Despite the beginning
of World War Two, ballet classes
bulged and within just two years,
several of the ‘Russians’ who had
decided to remain in Australia formed
companies. Sadly, only Edouard
Borovansky’s in Melbourne survived.
Perth, which was not included in the
Russian tours, largely had Linley
Wilson’s student-based Caravan
Ballet and rare visits from the
Borovansky Ballet to fill the gap
until 1952 when the quest to create
a professional company in the west
took wings.
Serge
Initially docking in Fremantle in 1938 ahead of
an Australian tour, she later returned to Perth
with Melbourne-born composer-conductor James
Penberthy in 1952. They were lovers and colleagues,
coming from the Melbourne-based National Theatre
Ballet (1949-1955) where Bousloff taught and
choreographed and Penberthy was music director.
Diaghilev
Matt Norman as counterweight with Matthew Lehmann & Jayne Smeulders
Benjamin Kirkman & Alessio Scognamiglio
James Penberthy & Kira Bousloff
Kira Bousloff was a dancer in Col. W. de Basil’s Covent Garden Russian
Ballet (1938-1939).
With Bousloff’s drive and experience, and Penberthy’s
fervent creativity, a new company could be seriously
considered and so in 1952 with limited means and
much energy, a new entity was conceived and initially
resourced by committed teachers, dancers and
balletomanes with dedication to balletic traditions
and new creations. But it would take 18 years to build
a fully professional company.
WAB’s early repertoire included works by Bousloff
and colleagues such as Marina Berezowsky, as well
as variants on Ballets Russes productions staged by
other de Basil artists such as Yurek Shabelevsky and
Kiril Vassilkovsky. Equally important was the sense
of Australian identity that permeated new ballets
with music by Penberthy. These include Brolga, a
highly expressionistic movement work based on
an Aboriginal initiation story for the gifted young
Col. de Basil
Jenna Boston & Robert Mills
Conductor Myron Romanul (with mic) & Choreographer Marc Ribaud
Kira Bousloff
9
Terri Charlesworth, The Beach Inspector and the Mermaid, a romantic comedy involving
actual life-savers, and Kooree and the Mists, made on another Aboriginal story and the
nation’s first Indigenous ballet dancer, Mary Miller. Vassilkovsy, created several works
including Uirapuru, from a Brazilian legend, and Black, or White, with an Indonesian
composer, creating the nation’s first Southeast Asian collaboration. And in 1961, French
dancer Robert Pomie staged his sunny, stylish ballet The Surfers and five other ballets
for a Perth season and the company’s first major tour in 1961. These were exciting years
indeed.
He also commissioned Garth Welch’s
expressionistic Woman of Andros set to
Henk Bading’s electronic music, bringing
together near-nudity and Australia’s prima
ballerina, Marilyn Jones, in a satisfying
dramatic role.
Marilyn Jones in Woman of Argos by Garth Welch, 1972
Inevitable change, government funding conditions and the birth of The Australian Ballet
in 1962, brought the company’s establishment phase to a close. A newer modernity
and glamour were called for and in 1969, Adelaide-born Rex Reid (1969-1973),
Garth Welch
Rex Reid with company members 1970
who had worked the touring Ballet Rambert from London and the National Theatre
Ballet, replaced Bousloff. The company was re-launched in 1970 with a grant to employ
nine fulltime dancers. An urbane man, Reid added modern and traditional works. They
include The Night is a Sorceress (1959), a haunting Deep South mystery with jazz music
by African-American Sidney Bechet, and the Japanese dance drama The Glade (1970).
Laurence Bishop, Robin Haig & Luis Moreno in The Glade by Rex Reid, 1970
The prolific Louis Moreno (1973 -1977)
brought refreshing cultural aspects of
Spanish dance and drama with his Carmen,
and excerpted versions of Petipa’s Paquita
and Le Corsaire. He engaged stunning
Russian ballerina Galina Samsova and her
partner Andre Prokovsky as guest artists,
and staged a complete Coppelia. Perthborn, Royal Ballet dancer Robin Haig (19771979) replaced Moreno.
She created works and presented others by
Australians Leigh Warren, Walter Bourke and
Garth Welch, and Britons Peter Darrell and
Jack Carter. She also commissioned works
by Jacquie Carroll, Sara Suighara, Gerrard
Sibritt and Reid, who commissioned a score
from Verdon Williams for his ballet Tancredi
and Clorinda. This was an exhaustingly busy
period for Haig, capped by the welcome
arrival of ballet master Hans Brenaa to
stage excerpts from Royal Danish Ballet’s
Bournonville repertoire.
Returning as director, Welch (1979-1983),
invited many guest artists and created his
own works, notably KAL, a witty, theatrical
show full of lively numbers; it was also the
company’s first three-act ballet. With a score
by Verdon Williams and Graham Maclean’s
excellent designs for a fictional 1890s mining
town, KAL was the ideal work for the restored
His Majesty’s Theatre, which opened in May
1980. Welch’s impressive repertoire for the
reopening of this historic treasure included
new contemporary works by Barry Moreland
and Don Asker.
Barry Moreland
Louis Moreno & Robin Haig
Moreland’s fourteen-year directorship (19841997)focused on Diaghilev’s principle of
commissioning new designs for the best
contemporary artists for his original Ballets
Russes company in Paris (1909-1929).
Moreland attracted Robert Juniper and Charles
Blackman, whose bold sets and costumes
brought brilliant, imaginative elements
to the stage. Similarly, young architect
AndrewCarter rebooted the sense of how
a story ballet can look with light, spacious
structures. Just as Diaghilev honoured the
past, Moreland invited former Royal ballerina
Beryl Grey to stage Giselle, simultaneously
revitalising the company’s technique and
style. He also created nine full-length ballets,
including Alice in Wonderland, A Midsummer
Night’s Dream and Lady of the Camellias.
He commissioned new works too from
emerging choreographers, notably Edmund
Stripe, Natalie Weir and, Chrissie Parrott;
both women were commissioned again by
Ted Brandsen (1998-2001).
Brandsen was a very contemporary neo-classicist with a lean style
and fine musicality. His abstract Bridge Variations (by Britten) was
exceptional. He condensed story ballets in line with contemporary
taste, making his Carmen and Romeo and Juliet
classics of their kind – symbolic
and dramatic, with each dancer
coached to act through their
whole body. Brandsen also
introduced the austere Dutch
modernist Hans van Manen
to West Australia, whose
choreography should be better
known right across Australia.
Ted Bransen rehearsing
Jacinta Ross-Ehlers in
Romeo & Juliet
Brandsen’s dancers became
the backbone of Simon Dow’s
directorship (2003-2007),
dominated by demanding
story-ballets on popular
themes: La Boheme, The
Red Shoes, Cinderella, for
example, in which many
dancers blossomed. Dow’s
dual focus on technique
serving character and story
development was crucial,
and informed many-one act
ballets too.
Simon Dow
Ivan Cavallari’s years with the
company (2007-2012) were
extraordinarily rich, drawing on
his broad European experience
of roles, choreographers,
composers and designers. His
humour and flair came through
his choices, as did his dedication
to characterisation. His fulllength ballet, Pinocchio, was
the culmination of his creative
Ivan Cavallari
development, and raised the bar
for future large ballets in Australia.
If his creations and imports sometimes mystified his audience, his
staging of Glen Tetley’s Voluntaries and John Cranko’s Taming of
the Shrew and Onegin were a gift to West Australians, as these
works had only been available to the national company.
Aurélien Scannella (2013 -) comes
from a similarly European context;
his dedication to the integrity
of ballet is perhaps even more
pronounced, as seen in Giselle
last April. However, his taste for
popular culture has led to exciting
developments, and if this year’s
sensational Quarry season is a
signal, artistry, spectacle and
substance, not just show, will
become Scanella hallmarks.
Aurélien Scannella
and Sandy Delasalle
It was only by taking such risky leaps beyond the familiar that
ballet changed its course in Diaghilev and de Basil’s eras. In the
21st century we should all be emboldened by their example.
11
By Education
Coordinator
Rebecca Sneddon
patron profile Richard Murphy and Kay Lee
By Philanthropy Manager
Catherine Henwood
Richard Murphy and Kay Lee have a truly
unique partnership. One loves ballet,
the other hockey, yet they have a special
association with West Australian Ballet as
both subscribers and donors.
Married for 25 years, Richard and Kay first met
when Richard was a geologist and Kay was an
industrial chemist. Kay took Richard to a hockey
match and Richard repaid the favour by taking Kay
to the ballet. While it may not seem an obvious
match, the two have found great joy in ballet as
well as art. They attended West Australian Ballet
performances together for many years, but it was
their admiration for Ivan Cavallari that led them to
become subscribers and ultimately donors to the
company.
Richard & Kay
Serendipitously, Richard and Kay were looking
for a sculpture to place in their garden and in the
late 80s, Kay spotted a picture of Greg James’
work in the West Australian. They contacted Greg
who suggested they take a look at one of his
works which had recently been donated to West
Australian Ballet (Spartacus II 1988) – Richard and
Kay loved the piece and asked Greg to create
another for them, which now resides in their lush
garden.
As for their preferences at the ballet? Richard
loves the classical works and Kay is a fan of
modern productions (she loves the Quarry
season!). Neither have specific training in the
arts, which is hard to believe when they are
able to fluently discuss numerous productions,
dancers and companies (including national and
international ballet companies), plus artists,
sculptors and opera!
Richard and Kay speak glowingly of West
Australian Ballet and the improvement in the
company over the past few years. They particularly
loved Daniel Roberts' work at the launch of Season
2015, describing the combination of live music
onstage and the intricate choreography as the
perfect ballet experience – where the musicians
feature equally with the dancers onstage.
By Executive
Assistant &
Philanthropy
Coordinator
Alexandra
Cook
Having a
Chance to Dance
When you walk into a classroom full
of students who have never danced
before, you’re met with some furrowed
brows and disinterested stares. But as
soon as the children get up and start
to place their feet in ‘first position’ and
hold their arms in ‘bras bas’, they are
instantly fascinated to see their body
making shapes and movements they’ve
never experienced before.
The students are also surprised to experience
how hard it is to lift their leg high in a
‘développé’, or complete a full ‘pirouette’. They
begin to understand that not only are ballet
dancers graceful and elegant, but they are also
strong and powerful. By day three the children
know positions one to five, as well as the
French terminology for the basic ballet steps.
I was rather chuffed when a student told me
that an EDU Dance teacher exclaimed ‘that’s a
good kick’ when she saw him practicing ballet
and the student responded: ‘No! It’s a grand
battement’.
Over five days we work towards a performance
for the whole school. Students’ decide
collectively on a theme and also contribute
their own choreography to the piece. The
creativity of the students is quite remarkable
as they come up with some wonderfully
impressive ballet moves.
The highlight of the week is the performance.
The children are so nervous and there is always
an anxious ‘I can’t do this’ from a couple of the
students. Surprisingly, it is often the students
who were disinterested on day one, that are
the most excited to perform.
“The kids put on a wonderful
performance this arvo and
the whole school turned
up. Rebecca and Joel were
sensational with the kids – very
kind and supportive, at the
same time expecting them to
do their best and encouraging
them all the way.” Teacher,
Clarkson P.S.
Teachers and parents alike stand with the
rest of the school and look on in amazement.
The performers are met with an eruption of
applause from the audience and a look of
relief and satisfaction comes over them. I
noticed a particularly touching moment at
the performance from Maylands Peninsular
Primary School, when a teacher wiped a tear
from her eye and shouted ‘BRAVO’ as her
student’s took their bows.
Young Artist Snapshot
Andrew Radak
Andrew Radak
At just 22 years of age, Andrew Radak possesses a sweet mix of
boyish charm and a polite disposition that makes him a pleasure to
be around. He is effervescent, and as delightful in person as he is
when performing.
Originally from Melbourne, Andrew started full time ballet training at the age
of 17 at National Theatre Ballet School before heading to the Queensland Ballet
in 2013 to complete a pre-professional year. As a child he used to bug his mum
about taking ballet classes, and at age eight he finally had his chance to dance.
The Chinese Variation from The Nutcracker is now one of his top choices to
perform.
During our chat I asked Andrew if he had any party tricks... he did! He has the
awesome ability to wrap one leg around his head and then stand up straight
on his other leg. Andrew also enjoys water-skiing, camping and rollerblading
– living every moment to the full.
One thing that struck me about Andrew was his mature and positive outlook
on the future. He believes everything happens for a reason and his ‘take it as
it comes’ attitude will surely serve him well.
Andrew Radak with Eleanor
Bendat & Laura Machlin
Andrew, and other gifted young dancers,
have the opportunity to live their dream
by gaining a ‘step up’ to a professional
career through the generosity of private
foundations and patrons such as the Bendat
Family Foundation, who proudly support
Andrew’s Young Artist Scholarship.
Students
who
experience
hardship or are classified ‘at
risk’, have the opportunity to
experience the magic of dance
through the generous support
of the Clough Foundation –
partner of WAB’s ‘Chance to
Dance’ programme.
13
ANNUAL
GIVING
OPENING NIGHT WRAPS
Giselle
West Australian Ballet
gratefully acknowledges
the generous support of
our donors, who enable
us to bring exceptional
dance experiences to
our Western Australian
communities.
In May, Artistic Director, Aurelien Scannella and his wife, Ballet Mistress, Sandy
Delasalle recreated the magic of the timeless classic, Giselle.
“As the final curtain dropped there was silence, before the theatre burst into
applause. It wasn’t just the men under the spell of the Wilis – WA Ballet had
audiences right in the palm of their hands.” – WA Today 10 May 2014
Recognition of gifts
received between
30 September 2013 and
30 September 2014.
Photo by Ashley de Prazer
Sergey Pevnev
& Sarah Hepburn
. Photo by Ashle
y de Prazer.
Patron, Private Giving
Mrs Alexandra Burt
Major Benefactors
Bendat Family Foundation
Angela Bennett
Minderoo Foundation
Westrac
Michael J.M. Wright
Photo by Sergey Pevnev
La Fille mal gardée
The French countryside was brought to life in Perth at His Majesty’s
Theatre and the Canberra Theatre Centre, with the company’s 50’s inspired
production of La Fille mal gardée.
“French-born Marc Ribaud brings an inexhaustible energy to the dramatic
treatment of this simple story and his refined choreography – high-spirited
village dances and antics, winsome duets – is captivating. The whole company
was impressive, with fearless, crystal-sharp technique.” – The Australian
Dancers of West Australian Ballet.
Photo by Emma Fishwick
Craig Lord-Sol
e with WAB da
Photo by Em
ncers in La Fil
ma Fishwick
le.
Bravura Circle $10,000+
Alex & Julian Burt
Marilyn Burton
Dorothy & Allan Smith
Wesfamers Arts
Windsor Knight Pty Ltd
Mary Ann Wright
Wright Burt Foundation
Anonymous (1)
Directors Circle $5000+
Susan Bogle
Tim Bult & Lisa Church
Bux Family Foundation
Ian & Rosana Cochrane
Maureen Connaughton
Roger & Christine Davies
Davson & Ward Pty Ltd
Robert Edwardes
Friends of West Australian Ballet
Charles & Patricia Galluccio
Patricia Gates
Jamelia Gubgub & David Wallace
Kennerlys
The Robert Kimpton Family
John Langoulant AO
Greg, Cathy, Rhonda & Andrea
Meyerowitz
Jane & Jock Morrison
Kay Lee & Richard Murphy
Peggy & Mladen Ninkov
Ingrid & Mark Puzey
Online donation
Rella Consultants
Dave & Ros Smith
Stan Perron Charitable Trust
Clair & John Stanley
Simon & Alison Turner
Juerg & Elisabeth Weber
Heather Zampatti
Anonymous (1)
Choreographers Circle $2000+
Helen Ansell
Neil Archibald & Alan R. Dodge
AM
Greg & Anna Baker
Sally Burton
Don Conroy
Carol Conley
Barry & Carole Crommelin OAM
John & Gay Cruickshank
Mrs S Gillett
David & Hannah Goldstone
Dorothea Hansen-Knarhoi
Dennis & Margaretha Maltz and
Mary Cheng
In memory of Patricia Protter
Beth Townsend
M & H Tuite
Gill & Jim Williams
Anonymous (1)
Leading Artists Circle $1000+
Michael & Sandy Anghie
Tom & Heather Bannerman
Tony & Diana Beck
Tony & Mary Beeley
Peter Blaxell
Helen Burke
Robert Cappellin & Carl
Freedman
Katrina Chisholm
Michael & Wendy Davis
Mario D’Orazio
Lorraine Ellard
Ole & Gerie Hansen
Olive & Bill Henwood
Helen Hollingshead
Gill Holly
Nicky & Larry Iffla
Jim & Freda Irenic
Stephanie & John Kobelke
Rosalind Lilley
Jacqui & Peter Macliver
Dr Karen McQuillan
Tony & Gillian Milne
Lynn Murray
Callum Neil
Leanne O’Malley
Athena Paton
Fiona & Kurt Sassenfeld
John & Joy Shepherd
Dr Peter Simpson OAM
Ian & Helen Smith OAM
Kate Sommerville
Jan Stewart PSM
Robyn Tamke
Richard Tarala & Lyn Beazley AO
Geeta Thakorial & Alan Day
John & Soosie Thompson
Rodney and Penelope Thompson
Christine & David Thorpe
Alexandra Welch
Olive Wheeler-Brennan
WPO Perth Chapter
Artists Circle $500+
Gavin Bain
Shirley Barraclough
C & K Brownlie
Marie Leah Cicchini
Helen Cook
Kim & Valerie Cottrell
Victoria Cousins
David Cranson
Michael Crossley
Lesley Davies
Jacinta & Michael Ehlers
J. Fairweather
Martyn Flahive
Friends of His Majesty’s Theatre
Kay Giorgetta
Pippa Green
Philip Hassett
Brit & Edward Helgeby
Catherine & Will Henwood
Leslie Hutchinson
Heidi Kellner-Marshall
Dr Rob Kirk & Sarah Gallinagh
Francis Landels
Gaye & John McMath
In Memory of Anna Mercer
Dr Andrew Miles
Pamela Platt
Mr Stuart Strickland
Siobhan Vincent & Associates
Joy Wearne
Margaret Whitter
Janet Williams
Anonymous (10)
Donors <$499
152 Supporters
Kira Bousloff Bequest Circle
West Australian Ballet also
graciously recognises those who
have chosen to make a bequest
or have left a legacy:
Ella Fry Bequest
David M Smith
Rosalind Smith
Olive Wheeler-Brennan
Freddi Wilkinson
Anonymous (4)
Making a gift has never been easier... simply go to waballet.com.au and follow the prompts.
15
La Fille Campione
WAB ‘Campione’ donors gathered at the stunning ‘Mondrianinspired’ home of Jamelia Gubgub and David Wallace on 30
June, to launch the campaign for La Fille mal gardée Campione.
Guests enjoyed champagne and canapés as they learnt about
the creative inspiration for the authentic rural French set from
designer Richard Roberts (who had flown in from Hong Kong),
and Lyndell Darch (Head of Wardrobe) who regaled guests
with her quest for the perfect fabrics for the 50’s vintage style
costumes.
On 10 September, Campione members were invited to celebrate
together onstage at His Majesty’s, having jointly raised over
$100,000 towards this new production. Guests were able
walk amongst the completed set and costumes of La Fille and
hear about the painstaking work that went into creating the
production.
Admiring Richard Roberts’ set
t & Guest
Janet Williams, Pamela Plat
Christine Thorpe &
Heather Bannerman
Sorel Ewell & Sue
Sandy Anghie
Wenn
Tony & Diana Beck
If you would like to be part of the 2015 Coppélia Campione,
please contact Philanthropy Manager, Catherine Henwood at
[email protected] or you can find further information
at waballet.com.au >Support >Donate >Campione.
Visit waballet.com.au for information on public classes,
special events, merchandise and more!
ADULT PUBLIC CLASSES
Adult classical ballet and contemporary classes
taught by leading Western Australian dancers
take place Tuesday and Wednesday evenings
at the West Australian Ballet Centre. For fun
and fitness, or to brush up your skills, classes
are offered at all levels. Term enrolments and
casual places available.
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
Tony Milne w
ith Alan & Do
Pennie & Rodney Thompson,
Mary Ann Wright & Richard Roberts
Have you discovered
West Australian Ballet?
For bookings and/or further
information for all events:
visit waballet.com.au,
email [email protected],
or call (08) 9214 0707.
ub
& Jamelia Gubg
rothy Smith
Marilyn Burton, Tony Milne
& Dorothea Hansen-Knarhoi
with Jon Buswell’
MERCHANDISE
See the latest range of West
Australian Ballet merchandise
at waballet.com.au > shop
From ballerina necklaces
to ornamental Christmas
decorations, there is something
for every balletomane.