Annual Report 2010 - Amazon S3 · 4 The Australian Ballet 2010 Annual Report 5 ... Bodytorque.à la...

Annual Report 2010

Performance schedule 5

Chairman’s review 7

Executive Director’s report 8

Artistic Director’s report 10

Directors’ biographies 12

Around the country with The Australian Ballet 14

Fulfilling our company’s goals 17

Create inspiring performances 18

Achieve excellence on both sides of the curtain 22

Engage more people in the artform 24

Commit to innovation 26

Ensure a sustainable business platform 27

Key performance indicators 28

Financial report 33

Financial support 57

Company and directors 60

Partners 62

contents

2010 Annual Report 5 4 The Australian Ballet

Program Performances

BRISBANE Lyric Theatre, Queensland Performing Arts Centre with Queensland Symphony Orchestra

The Silver Rose Graeme Murphy’s The Silver Rose 26 February – 3 March 6

ToTAl BRISBANE 6

MElBoURNE the Arts Centre, State Theatre with Orchestra Victoria

The Silver Rose Graeme Murphy’s The Silver Rose 19 – 30 March 13

Coppélia Peggy van Praagh & George Ogilvie’s Coppélia 10 – 22 June 13

Peggy! Mark Annear’s Birthday Celebration Peggy van Praagh’s ‘Garland Dance’ from The Sleeping Beauty Peggy van Praagh’s Giselle Act 1 Pas de deux Frederick Ashton’s Cinderella (extracts) Antony Tudor’s The Gala Performance 25 June – 5 July 11

Edge of night Stephen Baynes’ At the edge of night Tim Harbour’s Halcyon Stephen Baynes’ Molto Vivace 26 August – 4 September 11

The Nutcracker Peter Wright’s The Nutcracker 11 – 25 September 15

ToTAl MElBoURNE 63

SYDNEY Opera Theatre, Sydney Opera House with Australian Opera and Ballet Orchestra

The Silver Rose Graeme Murphy’s The Silver Rose 9 – 29 April 22

Coppélia Peggy van Praagh & George Ogilvie’s Coppélia 4 – 22 May 21

Edge of night Stephen Baynes’ At the edge of night Tim Harbour’s Halcyon Stephen Baynes’ Molto Vivace 11 – 29 November 19

The Nutcracker Peter Wright’s The Nutcracker 3 – 22 December 22

ToTAl SYDNEY 84


SYDNEY ThEATRE AT WAlSh BAY

Bodytorque.à la mode Robert Curran’s Fold Daniel Gaudiello’s South of Eden Alice Topp’s Trace Timothy Brown’s Nocturnal Phantasm Damien Welch’s Birthday Suit 27 – 30 May 5

ToTAl SYDNEY ThEATRE 5

ADElAIDE Festival Theatre, Adelaide Festival Centre with Adelaide Symphony Orchestra

The Silver Rose Graeme Murphy’s The Silver Rose 13 – 17 July 6

ToTAl ADElAIDE 6

oPEN AIR PERFoRMANCE Credit Union Australia Stadium – Penrith Telstra Ballet in the Stadium

Victor Gsovsky’s Grand pas classique Alice Topp’s Trace Marius Petipa’s Don Quixote Pas de deux Marius Petipa’s The Sleeping Beauty Pas de deux After Marius Petipa’s Le Corsaire Pas de deux Lev Ivanov’s The Nutcracker Pas de deux Marius Petipa’s Swan Lake Black Swan Pas de Deux Marius Petipa’s La Bayadère excerpt from ‘The Kingdom of the Shades’ 6 November 1

ToTAl oUTDooR 1

oVERSEAS

JAPAN

ToKYo Bunka Kaikan, Tokyo with Tokyo City Philharmonic Orchestra

Swan lake Graeme Murphy’s Swan Lake 9 – 11 October 3

Nutcracker - The Story of Clara Graeme Murphy’s Nutcracker - The Story of Clara 15 – 17 October 3

NAGoYA Aichi Prefectural Art Theater with Tokyo City Philharmonic Orchestra

Swan lake Graeme Murphy’s Swan Lake 21 October 1

ToTAl oVERSEAS 7


ThE DANCERS CoMPANY

Don Quixote Ai-gul Gaisina’s Don Quixote (after Marius Petipa)

Kyabram, Kyabram Plaza Theatre 14 July 1

South Morang, Yan Yean Theatre, Plenty Ranges Arts Centre 16 – 17 July 2

Warrnambool, Eva Gaspar Theatre, Warrnambool Entertainment Centre 20 – 21 July 2

Hamilton, Hamilton Performing Arts Centre 23 July 1

Mount Gambier, Sir Robert Helpmann Theatre 26 July 1

Renmark, Chaffey Theatre 29 July 1

Tanunda, Brenton Langbein Theatre Barossa Arts and Convention Centre 31 July 1

Port Pirie, Keith Michell Theatre Northern Festival Centre 3 August 1

Whyalla, Middleback Theatre 5 August 1

Kalgoorlie, Goldfields Arts Centre 10 August 1

Geraldton, Queens Park Theatre 13 August 1

Mandurah, Boardwalk Theatre, Mandurah Performing Arts Centre 17 August 1

Bunbury, Bunbury Regional Entertainment Centre 19 August 1

ToTAl ThE DANCERS CoMPANY 15

ToTAl PERFoRMANCES FoR 2010 187

performance schedule

Andrew Killian, Amber Scott and Adam Bull in Stephen Baynes’ Molto Vivace Photography Jez Smith


In 2010 we began an exciting three-year journey towards our 50th birthday celebrations in 2012. It was a year of great achievements, both on and off the stage, as we looked to the future while celebrating our remarkable history. We presented 164 mainstage performances, including the first Australian presentation of Graeme Murphy’s critically acclaimed The Silver Rose, the restaging and restoration of our much-loved production of Coppélia, and a season of an audience favourite, Peter Wright’s The Nutcracker. The presentation of two of Stephen Baynes’ popular works with a world-premiere and mainstage debut from Timothy Harbour in Edge of night saw audiences embrace an all-Australian contemporary line-up.

I’m pleased to report that in terms of financial results, a stellar mix of repertoire on the stage coupled with stringent administration practices ensured that 2010 marked another solid year of achievements for The Australian Ballet.

Ballet is far from being an elitist past time; rather, we are heartened to see a continuing increase of interest in dance in the community. It is not only in theatres that Australians are choosing to experience the art form. For many, taking ballet classes is as much a part of life as weekend sport. According to the Australian Bureau of Statistics, over 390,000 people aged five to 14 years participate in ballet or dance lessons across the county and dancing is the third most popular leisure activity ahead of AFL and netball.

As a national flagship company, The Australian Ballet has an important role to play in encouraging grassroots participation in dance and in leveraging this interest for the future health of the art form. Our education program has expanded significantly over the past few years to harness this increased interest in, and love of, dance in the community. In 2010 we presented 535 education events across the country, an 18% increase in activity from 2009. Our regional touring arm, The Dancers Company, toured to far corners of Victoria, South Australia and Western Australia with a brand new interpretation of the lively ballet classic Don Quixote to audience and critical acclaim, ensuring that living in a remote or regional community is not a barrier to experiencing live ballet. We visited Penrith in Western Sydney with Telstra Ballet in the

Stadium a free outdoor performance under the stars, turning the home ground of the Penrith Panthers rugby league club into an outdoor ballet festival enjoyed by thousands from the local community. We continued to build engaged communities online, with our company’s Facebook page more than tripling in size to 23,000 by the close of 2010. We embraced Twitter and our blog Behind Ballet is now receiving half as many visits as our corporate site, making not only the company, but this fascinating art form in general, more accessible to all with rich content and engaging stories that delight, excite, inspire and surprise those who connect with us.

Our mainstage performances in Sydney, Melbourne, Adelaide and Brisbane are certainly the core of our business in presenting live ballet, but there are an increasing number of alternative avenues by which the community is experiencing the excellence of The Australian Ballet. Increased in-schools and in-theatre education programs, regional and international touring, live broadcasts and continued explorations of online outreach opportunities are a key focus for the company in the immediate future.

International touring is also vital. A personal highlight for me as Chairman in 2010 was travelling to Tokyo, Japan to see our remarkable group of dancers perform Graeme Murphy’s Swan Lake and Nutcracker – The Story of Clara. It was a proud moment as the Japanese rose to their feet on opening night and applauded our artists for a technically exquisite and emotionally charged performance. The company’s athleticism and vitality in Japan was the perfect showcase of Australian artistry on the international stage. It is imperative that we continue to invest in international touring as we continue to build a global profile.

On behalf of the company I would like to thank our corporate partners and individual donors as we step ever closer to our 50th anniversary for helping us to achieve our artistic aims. 2010 marked 26 years of partnership with Principal Sponsor Telstra – this solid relationship continues to be one of the most successful corporate arts partnerships in Australia.

The Commonwealth Government and the governments of Victoria and New South Wales contribute financial assistance to the company through the Australia Council, Playing Australia, Arts Victoria and Arts NSW, for which we are also grateful.

In 2012 we will celebrate 50 years of bringing first-class ballet to stages across Australia and the world. We are already working closely with governments and understand they will be rewarding success and excellence and we are expecting them to work with us to secure key projects – both on and off the stage – for our 50th year. David McAllister’s artistic vision for 2012 is bold and ambitious and we must do all that we can to ensure its delivery to stages across Australia and overseas. We have worked hard over our long history to ensure the financial stability of the company. Now is the time to ensure that our footprint continues to grow and the art form continues to flourish in the next 50 years.

I am proud of the strength and diversity of skills at The Australian Ballet – the entire company can proudly share in the numerous successes of 2010. I send my thanks to our wonderful dancers and staff and acknowledge the commitment of the Board for their continuous support and expertise. Also, I would particulary like to thank David McAllister and Valerie Wilder for another outstanding year. I trust you will enjoy this annual report. We look forward to what the future holds for this beautiful art form in the coming years.

Christopher Knoblanche Chairman

chairman’s review

Dimity Azoury and Jarryd Madden Photography Justin Smith


There is no doubt that 2010 was a year of great success for The Australian Ballet. On the stage, our beautiful company and artistic staff worked tirelessly to present the magic of first-class ballet in Australia and across the world. On the other side of the curtain, an inspired production team worked equally tirelessly to deliver scenery, costumes, lighting and seamless technical elements to the exquisite works audiences have come to expect of our company. Meanwhile, our administrative and finance teams solidified the company’s record of prudent management and solid financial achievements, and brought entrepreneurial flair to some new areas of the business.

In 2010 we took great efforts to keep a close eye on budgets, expenditures and general financial performance and I am pleased to report another year of strong financial results to compliment a year of great artistic success. As can be seen in the financial statements, the company ended the year with a modest operating surplus on core ballet company activities of $61,000. Combined with income from The Primrose Potter Australian Ballet Centre, which operates the company’s car park, and The Australian Ballet Foundation Fund, the consolidated surplus for 2010 is $5.04 million.

Once again, a highlight for the year was the excellent results at the box office. Complementing high artistic standards onstage, our marketing, media and customer services teams explored new initiatives aimed at retaining audiences while establishing new relationships. These efforts were rewarded with over 247,000 people paying to attend a performance by the company in 2010. Overall paid capacity was again strong at 83.7%, while paid capacity on the mainstage in Sydney, our biggest market, rose to 92.46% from 90.8% in 2009.

An encore season of 2007’s The Nutcracker was sold out in Sydney months before we opened. It was also the best-performing ballet for paid attendances during 2010. Edge of night, a contemporary presentation of three short ballets, was the strongest selling triple bill program since 1996. We are pleased that audiences are embracing a range of programming from full-length narrative tales to contemporary innovation. In its seventh year, our choreographic exploration program Bodytorque was also sold out with its unique look at the relationship between ballet and fashion in Bodytorque.à la mode.

A trend facing organisations across the sector is a more challenging environment for corporate sponsorship income. This is reflected in a slight reduction in sponsorship income in 2010 for the company. Despite this, our corporate relations team managed to maintain the majority of our corporate partners and post the department’s best net result in six years. To the further credit of the department, a number of exciting new partnerships were introduced during the year.

In February 2010 we were thrilled to announce a major grant of $8 million from The Ian Potter Foundation. We are receiving $4 million of the grant over five years for the maintenance, upgrading and refurbishment of The Primrose Potter Australian Ballet Centre (our Melbourne headquarters) and towards furthering the company’s education programs. Further to this, the Foundation will match up to $4 million of other grants and donations made to The Australian Ballet on a dollar-for-dollar basis.

We are already seeing the benefits of this unique matched giving structure, with patrons inspired to give for the first time or increase their giving, knowing that their generosity will provide an even greater impact for the company. With thanks to The Ian Potter Foundation, considerable exploratory work and some initial projects were undertaken throughout 2010 towards a major refurbishment of our 22-year-old Melbourne headquarters. Additional funds were directed to our ‘in schools’ education program Out There.

We are increasingly reliant on the support of committed individuals to bring live performances to stages across Australia and the world. It is with a great deal of appreciation that we recognise the many donors who increased their level of annual giving, provided significant major gifts or formed new relationships with the company during the year. As we look towards 2012 and our 50th anniversary, philanthropy will be important in securing the company’s future sustainability.

A key highlight for everyone across all arms of the organisation was our successful tour of Graeme Murphy’s Swan Lake and Nutcracker – The Story of Clara to Tokyo and Nagoya, Japan. It takes an enormous effort to ship the company’s full suite of dancers, sets, costumes and support staff over 8,000 kilometres across the world. International touring is a key business requirement for The Australian Ballet and one, as Executive Director, I am extremely proud to see in our schedule. When performing on the international stage we are cultural ambassadors for Australia, and I know Artistic Director David McAllister would say that the recent performances in Japan were some of the very best he has seen from the company.

A great administrative team exists to ensure that our artistic aspirations can flourish; creating the most inspirational art possible and presenting it to the widest audience possible. As one of Australia’s largest national performing arts organisations, we have an incredible team of people working behind the scenes who do this remarkably well, bringing David McAllister’s brilliant artistic vision to life.

As we approach a major milestone for any ballet company in 2012, all of us are committed to ensuring a bright future for the organisation. My thanks and congratulations go to all staff of The Australian Ballet and to Chris Knoblanche and the Board for their support throughout the year.

executive director’s report

Valerie Wilder Executive Director

Leanne Stojmenov and Yosvani Ramos in Coppélia Photography Justin Smith


On 2 November 1962, Peggy van Praagh sat nervously waiting in the auditorium of Her Majesty’s Theatre in Sydney for the curtain to rise on the very first performance of the company she had been charged to found. There was no need to worry as the debut of Swan Lake, produced by van Praagh, was a brilliant success and so began the journey of The Australian Ballet.

In 2010, the 100th anniversary of Peggy van Praagh’s birth, we began the three-year journey towards our 50th anniversary in 2012 by celebrating our founder. Dame Peggy was a woman of vision, determination and passion who charmed her newly adopted country with her eye for talent and wonderful sense of humour. As a world-renowned teacher and producer, Dame Peggy was well versed in the intricacies of the classical repertoire. She was also a passionate advocate for the development of new work and the nurturing of choreographers to create them. To reflect these interests, 2010’s programming contained some of the company’s most loved classics and a range of original Australian works.

The staging of Dame Peggy’s classic production of Coppélia was a highlight of this season with Kristian Fredrikson’s designs lovingly restored to the lavish grandeur seen on its premiere in 1979. Equally, the production was overseen by its original director George Ogilvie who spent time with us in rehearsals to recreate the theatrical magic that is a hallmark of this wonderful production. Also returning to the stage in 2010 was Peter Wright’s The Nutcracker. Dame Peggy supported Sir Peter’s choreographic career while directing the Sadler’s Wells Theatre Ballet. The encore season of this truly sumptuous production was again embraced by audiences, equalling its 2007 premiere with sold-out seasons in both Melbourne and Sydney.

In Richard Strauss’ opera Der Rosenkavalier (The Rose Cavalier), Graeme Murphy saw the makings of a great ballet: a timeless tale, two compelling female leads and a tangle of romantic intrigue. His resulting masterpiece, The Silver Rose, began our year on the stage and brought to Australia for the first time a work that premiered in Munich in 2005. Graeme began his creative journey as a dancer and choreographer under Dame Peggy’s watchful eye and as such it was

perfectly fitting to have The Silver Rose open our 2010 season. The all-star, all-Australian creative team, led by Graeme alongside Janet Vernon, included a highly evocative score by Carl Vine and magnificent designs by Roger Kirk. It was wonderful to bring The Rose home to our audiences who embraced it with open arms.

More Australian works made their way to the stage in 2010, including the return of two of Stephen Baynes’ much-loved ballets At the edge of night and Molto Vivace, and the world premiere of Tim Harbour’s Halcyon as part of the highly successful triple bill Edge of night.

Dame Peggy’s vision was to build a company that would not only interpret existing works but create new ballets that were unique to our company – importantly, this also meant developing choreographers to create those works. Our choreographic program Bodytorque traces its legacy back to the Creation program established by Dame Peggy in the 1970s. Stephen Baynes took his first choreographic steps in similar workshops in the 80s under the guidence of Maina Gielgud, while Tim Harbour is a product of the recent Bodytorque series. In 2010 Bodytorque: à la mode partnered choreographers with emerging fashion designers, producing five brand-new works that premiered at The Sydney Theatre.

Our tribute season in Melbourne, Peggy!, combined the forces of The Australian Ballet and The Australian Ballet School with 200 dancers performing Mark Annear’s Birthday Celebration each night. Also on the program was Antony Tudor’s Gala Performance, a ballet in which Tudor created the role of the Russian Ballerina for Dame Peggy. This creative relationship with Tudor greatly influenced her life as a dancer and later as director. Divertissements from Dame Peggy’s Giselle and The Sleeping Beauty, alongside Sir Frederick Ashton’s Cinderella, rounded out this celebratory program.

Our reach into the community grew again in 2010 and saw us present our first free outdoor performance in NSW for 27 years. We were thrilled to transform the Penrith Panthers’ home ground into our very own Western Sydney outdoor ballet theatre with Telstra Ballet in the Stadium. This wonderful new relationship with the Panthers was built through our partnership with the Joan

Sutherland Performing Arts Centre and our education arm Out There – The Australian Ballet in schools. Our suite of education programs in theatres, in schools and in communities saw us present 535 events around Australia, enabling us to share the enjoyment of dance with an ever-growing audience. Our regional touring arm The Dancers Company took ballet to far corners of regional Australia with the Victorian, South Australian and West Australian tour of Ai-Gul Gaisina’s brand-new production of Don Quixote.

Our international presence was further cemented by a highly successful tour to Japan where we presented a double program by Graeme Murphy of his smash hits Swan Lake and Nutcracker – The Story of Clara. In a logistical and artistic coup, it was the first time Murphy’s Nutcracker had been presented outside Australia. Both enjoyed great success and we continue to strengthen our ties with this important international destination for dance.

Our dancers have also been in demand on the world stage, performing in gala programs in Rome, Moscow, Oregon, Miami and Columbia. Closer to home we also performed with the West Australian Ballet in celebration of their 40th anniversary, we returned to qualia on Hamilton Island to present the third Pas de deux in Paradise event and teamed up with the Canberra Symphony Orchestra in their Tea and Symphony series.

Sadly, we lost a number of people who were very near to the company in 2010. We said farewell to Paul Hammond who was one of Australia’s great dancers and teachers, whose devotion to dance will be greatly missed. Bill Akers AM was part of the artistic fabric of the company. In the early years he worked with Dame Peggy to shape the way ballet was staged for our company and as Director of Productions over the next three decades he lit most of our works. Former Chairman Mel Ward AO’s association with the company began when he initiated our incredibly strong partnership with Principal Sponsor Telstra. His passion and dedication energised the company throughout his chairmanship.

For the dancers it has been a huge year as they performed at a consistently high level over nine different programs. We were thrilled to have the American Ballet Theatre’s David

artistic director’s report

Juliet Burnett Photography Paul Empson

David McAllister AM Artistic Director

Hallberg join us for the Melbourne season of The Nutcracker, partnering Kirsty Martin – both Prix Benois de la Danse winners! In Sydney, we saw the Mao’s Last Dancer partnership of Madeleine Eastoe and Birmingham Royal Ballet’s Chi Cao reunited once again on the stage, also in The Nutcracker. We bid farewell to Principal Artist Danielle Rowe as she embarked on a journey to join Houston Ballet with partner Luke Ingham, but welcomed into the principal ranks Lana Jones, Kevin Jackson and Daniel Gaudiello. In a world first, the prestigious Telstra Ballet Dancer Award was a tie, with Dana Stephensen and Ty King-Wall both taking home the generous cash prize from our Principal Sponsor. Amy Harris confirmed she is one of the company’s most popular dancers, winning the People’s Choice Award for the second time! Finally, we also added to our ‘ballet baby’ tally when Jane Casson and Gennadi Koutchin welcomed son Alexander into the world.

I hope Dame Peggy would have enjoyed this year, watching how the early foundations she laid for the company have grown into The Australian Ballet of today. It is humbling to walk in her shadow and chart the course towards our 50th year. It is also incredibly joyous to work with a company of people whose talent is so inspiring and who come together to make possible the extraordinary performances you see each time the curtain rises!


ChRISToPhER GolDSWoRThY DANCERS’ REPRESENTATIVE Appointed 2010

Assistant Executive Director, the Business/Higher Education Round Table.

Christopher is a graduate of The Australian Ballet School and a former dancer of The Australian Ballet (1982 – 1994). Since retiring from dance in 1995, Christopher has completed a Master of Business Administration and Master of Business Law.

Previously, Manager Business & Strategy, the New Zealand Schools of Dance & Drama; Vice-President, Agilitas USA; Company Manager, Essgee Entertainment. Christopher has also consulted to the allied health and finance sectors.

Professional memberships – Australian Institute of Company Directors and Australian Institute of Management.

FElICITY GUNNER OAM (to February) Appointed 2000

Formerly eleven years’ involvement with the Alzheimers Association of South Australia, including five years as President with focus on community awareness and fundraising. Fundraising and the Deputy Chair of Rosemary Foundation. Eight years on the Board of the State Library of South Australia. Former Deputy Chair of Challenge Appeal for Anglicare and a Director of Art Gallery of South Australia Foundation and The State Library of South Australia.

SIoBhAN MCKENNA Member of the Audit Committee Appointed 2010

Managing Partner of Illyria Pty Ltd, a media focused investment company; Director of Prime Media Group, a regional television company; Director of DMG Radio, a metro radio company; and Director of NBNCo Ltd, the company designing, building and operating the Australian Government’s National Broadband Network. Commissioner of the Australian Government’s Productivity Commission. Former Partner of McKinsey & Company, an international management consulting firm, and former Member of the Advisory Board of the Australian Bureau of Meteorology.

SARAh MURDoCh Member of the Nomination Committee Appointed 2006

Ambassador of the Murdoch Children’s Research Institute and a member of its Development Board since 2000. Patron of the National Breast Cancer Foundation since 2001. In 2003 Sarah was awarded the Celebrity Advocacy Award by Research Australia. Appointed the International Ambassador for The Australian Ballet in 2004. Member of the Federal Government’s National Body Image Advisory Group.

STEVEN SKAlA (to February) Appointed 2000

Banker and Company Director. Vice-Chairman, Australia and New Zealand of Deutsche Bank AG. Chairman of Wilson HTM Investment Group Ltd, Director of Hexima Ltd, Australian Broadcasting Corporation, The Centre for Independent Studies and the General Sir John Monash Foundation. Vice President of The Walter & Eliza Hall Institute of Medical Research. Member of the International Council of The Museum of Modern Art (New York), The Global Foundation and the Advisory Council of the Australian Innovation Research Centre. Former Chairman of Film Australia Limited and the Australian Centre for Contemporary Art, and a former Director of Max Capital Group Ltd. Appointed an Officer in the Order of Australia in January 2010.

PETER SMEDlEY Chairman of the Audit Committee and Infrastructure Committee Chair of Endowment Fund Member of Investment Committee Appointed 2004

Chairman OneSteel Ltd, Spotless Group Ltd, Orygen Youth Health Research Centre and The Colonial Foundation, Director the Haven Foundation.

Previously Chairman CARE Australia, Director CARE International, Managing Director and CEO of Colonial Ltd and Mayne Ltd, Chairman State Bank of NSW Colonial First Pty Ltd, Drayton Coal Pty Ltd, Capricorn Coal Management, Callide Coalfields Pty Ltd; Deputy Chairman Newcrest Mining Ltd; Executive Director Shell Australia Ltd; Director Austen & Butta Ltd, Australian Davos Connection, Worsley Alumina Pty Ltd; Founding Chairman of CARE Australia Business Council, Member of The Business Council of Australia.

JUlIE SoMERS OAM Member of the Foundation Board Appointed 2002

Julie (da Costa) was the inaugural recipient of the Gallery First Nighters’ Scholarship to The Australian Ballet School. After graduating in 1968, she joined The Australian Ballet and for the following 15 years performed an extensive repertoire of principal and soloist roles, toured widely both nationally and internationally and worked with many of the world’s most renowned choreographers, coaches and dancers.

Retired as senior artist in 1984, returned as a guest principal artist in 1986 and has since been a guest artist with both the company and the school in various productions. Won a Green Room Award in 1985.

Former Member of the Council of Management of The Australian Ballet School and appointed Honorary Life Member in 2002. Former Artistic Advisor to The Australian Ballet School.

CRAIG SPENCER Member of the Superannuation Committee Appointed 2009

Craig is the Managing Director and owner of the Carter & Spencer Group, one of Australasia’s largest fresh produce companies with operations throughout Australia, New Zealand and Asia. Based in Brisbane, the company grows, distributes and markets fresh fruit and vegetables to supermarkets and leading retailers throughout Australia and globally.

Craig has served on many industry boards including Produce Marketing Association Australia/New Zealand. Chairman Australian United Fresh (Qld), Qld Food Fibre and Agribusiness Council, and Qld Chamber of Fruit & Vegetable Industries Co-Operative Ltd. Currently a Director of City of Brisbane Investment Corporation Ltd and Director of the Churchie (Anglican Church Grammar School) Foundation.

directors’ biographiesThe Directors present the following report for the year ended 31 December 2010. The names and particulars of the Directors in office, at any time, during or since the end of the year are:

ChRISToPhER KNoBlANChE CHAIRMAN Member of the Audit Committee, Investment Committee and Infrastructure Committee Chair of the Nomination Committee Appointed 2001

Managing Director and Head of Global Banking, Citigroup Australia & New Zealand. Previously Managing Director (Partner), Caliburn Partnership. Former Asia-Pacific Managing Partner, Andersen Business Consulting.

Appointed by the Federal Government to the Board of the Australian Business Arts Foundation in 1999, Deputy Chair 2000. Former member of the Business Council of Australia and former Chairman of their Tax Task Force Team. Former Board member of the Committee for Sydney, Chair 2000–2003. Member of the Innovation Summit Implementation Group, appointed by Nick Minchin, 2000.

In 2003 Chris was awarded the Centenary Medal by the Federal Government for his contribution to business and the arts.

RoBERT AlBERT AO RFD RD Member of the Investment Committee and Nomination Committee Chair of the Superannuation Committee Trustee of the Endowment Fund Appointed 1998

Company Director, music publisher and solicitor. Member of one of Australia’s pioneering music publishing and broadcasting families.

Former Partner of Allen Allen Allen & Hemsley. Former Fellow and Bursar of St Paul’s College. Chairman of St Paul’s College Foundation. President of the Navy League of Australia (NSW). Governor and Patron of the Sydney Heritage Fleet.

JohN BoRGhETTI Member of the Nomination Committee and Investment Committee Appointed 2009

Chief Executive Officer of Virgin Blue Group of Airlines.

Former Executive General Manager, Qantas. Former Director, Sydney Football Club, Jetset Travelworld and Piper Aircraft (USA). Director of CARE Australia.

ToNI CoDY (to May) Appointed 1999

Consultant, Company Director. Director and Deputy Chair Chris O’Brien Lifehouse at RPA since 2003 and Chair of the Lifehouse Marketing and Development Committee. Past Acting Executive Director Sydney Cancer Centre Foundation 2007. Past Director and Vice Chairman of the Kambala Girls School Foundation 1997 – 2007.

JIM CoUSINS AO Member of the Audit Committee and Foundation Board Chair of the Infrastructure Committee Appointed 2009

Jim is the former Chair of the Melbourne Recital Centre, former Chair and now Founding Chairman, Committee for Geelong, former Trustee/Deputy President of the National Gallery of Victoria, and has previously chaired The Public Galleries Association of Victoria, Geelong Performing Arts Centre, and Geelong Art Gallery.

Jim has chaired and been president of the Geelong Art Gallery Foundation, the NGV Foundation, and the Melbourne Recital Centre Foundation.

He was appointed an AO in 2004 and awarded an Honorary Doctor of Letters by Deakin University in 2004. Appointed Emeritus Trustee National Gallery of Victoria 2009.

MARIlYN (RoWE) CoWDEN OBE (to May) Appointed 1994 (on leave of absence 2009 – 2010)

Marilyn Rowe is Director of The Australian Ballet School and a former Prima Ballerina of The Australian Ballet. She has been Artistic Advisor to both company and school and has held many positions in the company including Ballet Director, Deputy Artistic Director and Director of The Dancers Company.

Miss Rowe is included in the Victorian Honour Roll of Women. She is a member of a number of international juries, including the Prix de Lausanne, Youth America Grand Prix, and the Beijing International Ballet Competition.

lI CUNxIN (to July) DANCERS’ REPRESENTATIVE Appointed 2005

After seven years of dance training at the Beijing Dance Academy, Li commenced his career at Houston Ballet, rising through the ranks to principal dancer. He joined The Australian Ballet in 1995 and danced a further four years as a principal artist while completing his Graduate Diploma at the Securities Institute of Australia.

Currently, Li is a senior manager at one of the largest stockbroking firms in Australia. Li danced many title roles in classical ballets and contemporary works and has worked with internationally acclaimed choreographers.

His best-selling autobiography Mao’s Last Dancer was published in 2003 and the film of his life was launched in 2009 to international acclaim.

JohN EllICE-FlINT Member of the Audit Committee and Superannuation Committee Appointed 2009

Following a 26-year overseas career at Unocal Corporation, John Ellice-Flint became Managing Director and CEO of Santos Limited, Australia’s largest domestic gas producer from 2000 – 2008.

Became Chairman of the South Australian Museum in 2002 and is Chairman of the Board of Clean Seas Tuna Limited.

He is a distinguished alumni of the New England University.


Alice Springs

Geraldton

Merredin

Kalgoorlie

Perth

Mandurah

Bunbury

Brisbane

Bowral

Riana

Somerset

Sprent

Hobart

Devonport

Wagga Wagga

Holbrook

Whyalla

Adelaide

Port Pirie Renmark

Mount Gambier

Tanunda

Nowra & CulburraIllaroo

Goulburn Jervis Bay

Penrith

VICToRIA Melbourne and surrounding suburbs: out ThereAbbottsfordCaroline Springs Carrum DownsCranbourne DandenongDoncasterFootscrayNoble ParkNorth MelbourneSt KildaSunshineParkvilleSpringville

The Dancers CompanySouth Morang

Moree

Out There - The Australian Ballet in schools

Mainstage

The Dancers Company

NAB Dance the Dream

Special events

Melbourne

Hamilton Island

Dalby

Wollondilly

around the countrywith The Australian Ballet in 2010

Warrnambool

Hamilton

GeelongLeongatha

St AndrewsKinglake

Wangaratta

Katunga

ToolambaLancasterEuchuca

Kyabram

Elmore

Sydney

NEW SoUTh WAlES Sydney and surrounding suburbs: out ThereDarlington Seaforth Summer HillLane Cove

Canberra

Blackheath

SoUTh AUSTRAlIAAdelaide and surrounding suburbs: out There Campbell TownDarlingtonMorphett ValeNorthfieldWoodville

NAB Dance the Dream Highbury

Wattleglen

Colac

2010 Annual Report 17

Create inspiring performances

Achieve excellence on both sides of the curtain

Engage more people in the art form

Commit to innovation

Ensure a sustainable business platform

fulfilling our company’s goals

Vivienne Wong Photography Paul Empson


ThE SIlVER RoSE (2005) (based on Der Rosenkavalier by Hugo von Hofmannsthal) Choreography Graeme Murphy Creative associate Janet Vernon Music Carl Vine Costume and set design Roger Kirk Lighting design Damien Cooper

PERFoRMANCE DATES Brisbane 26 February – 3 March Lyric Theatre, Queensland Performing Arts Centre with Queensland Symphony Orchestra

Melbourne 19 – 30 March State Theatre, the Arts Centre with Orchestra Victoria

Sydney 9 – 29 April Opera Theatre, Sydney Opera House with Australian Opera and Ballet Orchestra

Adelaide 13 – 17 July Festival Theatre, Adelaide Festival Centre with Adelaide Symphony Orchestra

PERFoRMANCE FIGURES Performances Brisbane: 6 Melbourne: 13 Sydney: 22 Adelaide: 6 Total 47

Paid attendees: 67,870 Box office income: $5,828,434

CoPPÉlIA (1979) Production devised and directed by George Ogilvie Music Léo Delibes Original choreography Arthur Saint-Léon Revised by Marius Petipa and Encrico Cecchetti Reproduced by Peggy van Praagh Additional choreography Peggy van Praagh Set and costume design Kristian Fredrikson Lighting design Francis Croese Lighting reproduction John Berrett

PERFoRMANCE DATES Sydney 4 – 22 May Opera Theatre, Sydney Opera House with Australian Opera and Ballet Orchestra

Melbourne 10 June – 22 June the Arts Centre, State Theatre with Orchestra Victoria

PEFoRMANCE FIGURES Sydney: 21 Melbourne: 13 Total 34


the silver rose coppÉliaAn Australian premiere from Graeme Murphy Three acts of magic, mayhem and mistaken identity

create inspiring performances

“It is hard to pull focus from the talented dancers of The Australian Ballet ... they bring Murphy’s vision to life with precision and enthusiasm” ThE DAIlY TElEGRAPh

“This production deserves to be a jewel in The Australian Ballet Company’s repertoire” SUNDAY hERAlD SUN

2010 MAINSTAGE PERFoRMANCES

Total performances: 164 Total paid attendees: 233,379 Total box office income: $20,194,965


Fulfilling our company’s goals

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“Performances of heart and soul are what this company is renowned for, and it (the Nutcracker) has a mighty pulse” hERAlD SUN

PERFoRMANCE DATES Melbourne 25 June – 5 July the Arts Centre, State Theatre with Orchestra Victoria

PERFoRMANCE FIGURES Melbourne: 11 Paid attendees: 15,013 Box office income: $1,130,901

ThE NUTCRACKER (1990) Choreography Peter Wright, Lev Ivanov, Vincent Redmon Production Peter Wright Composer Piotr Ilyich Tchaikovsky Set and costume design John F Macfarlane Lighting design David Finn reproduced by John Berrett Original producer Birmingham Royal Ballet

PERFoRMANCE DATES Melbourne 11 – 25 September the Arts Centre, State Theatre with Orchestra Victoria

Sydney 3 – 22 December Opera Theatre, Sydney Opera House with Australian Opera and Ballet Orchestra

PERFoRMANCE FIGURES Performances Melbourne: 15 Sydney: 22 Total 37


peggy! edge of night the nutcrackerGracious, audacious and innovative Peter Wright’s magical ballet returns for an encore seasonThe Lady. The legend. The ballets.

PERFoRMANCE DATES Melbourne 26 August – 4 September the Arts Centre, State Theatre with Orchestra Victoria

Sydney 11 November – 29 November Opera Theatre, Sydney Opera House with Australian Opera and Ballet Orchestra

PERFoRMANCE FIGURES Performances Melbourne: 11 Sydney: 19 Total 30


“... an exuberant tribute” ThE AUSTRAlIAN

“The dancers of The Australian Ballet are marvellous” ThE AGE

“This enthralling triple bill has almost everything you could ask for: romance, comedy, action and drama, all immersed in glorious music ” ThE AGE


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BIRThDAY CElEBRATIoN (2004) Choreography Mark Annear Music Aleksandr Glazunov Lighting Francis Croese featuring students of The Australian Ballet School

‘GARlAND DANCE’, ThE SlEEPING BEAUTY (1973) Choreography Peggy van Praagh Production Sir Robert Helpmann Music Piotr Ilyich Tchaikovsky Set and costume design Kenneth Rowell Lighting Francis Croese

GISEllE, ACT oNE PAS DE DEUx (1973) Choreography Peggy van Praagh Music Adolphe Adam Costume design Kenneth Rowell Lighting Francis Croese

CINDEREllA ExTRACTS (1948) Choreography Sir Frederick Ashton by permission of Wendy Ellis Somes Music Sergei Prokofiev Costume design Kristian Fredrikson Lighting Francis Croese

GAlA PERFoRMANCE (1938) Choreography Antony Tudor Music Sergei Prokofiev Costume design Hugh Laing Staged by Donald Mahler Original lighting designs Jennifer Tipton Lighting Francis Croese

This season’s performance of Gala Performance, © 1977 Antony Tudor, presented by arrangement with the Estate of Antony Tudor and The Antony Tudor Ballet Trust, proudly salutes the artistry, vision and enduring relevance of Antony Tudor’s work.

Visual Montage Matthew DonnellyPERFoRMANCE DATES Sydney 27 – 30 May Sydney Theatre at Walsh Bay

PERFoRMANCE FIGURES Performances Sydney: 5 Paid attendees: 4,020 Box office income: $175,189

bodytorque. À la modeThe fashion of ballet to come

“After seven years, The Australian Ballet’s Bodytorque program is stronger than ever” ThE DAIlY TElEGRAPh

BIRThDAY SUIT (2010) Choreography Damien Welch Composer Damien Welch Costume design Georgia Clark Lighting design John Berrett

FolD (2010) Choreography Robert Curran Composer Eugene Ughetti Solo percussion Eugene Ughetti Costume design Ryan Euinton Lighting design John Berrett

NoCTURNAl PhANTASM (2010) Choreography Timothy Brown Composer Alexandre Rabinovich Solo piano Duncan Salton Costume design Bridie O’Leary Lighting design John Berrett

SoUTh oF EDEN (2010) Choreography Daniel Gaudiello Composer Zoltan Kodaly Solo piano Duncan Salton Solo viola Virginia Comerford Costume design Melanie Bower Lighting design John Berrett

TRACE (2010) Choreography Alice Topp Composer Travis Hodgson of Hoof & Antler Costume design Georgia Lazzaro and Crystal Dunn Artwork projections Luke Tipene and Emmanuela Prigioni Lighting design John Berrett

AT ThE EDGE oF NIGhT (1997) Choreography Stephen Baynes Music Sergei Rachmaninov Solo pianists Stuart Macklin, Duncan Salton Set and costume design Michael Pearce Lighting design Stephen Wickham Reproduced by John Berrett Piano courtesy of Kawai

hAlCYoN (2010) Choreography Tim Harbour Music Gerard Brophy Costume design Alexis George Stage concept and lighting design Bluebottle

MolTo VIVACE (2003) Choreography Stephen Baynes Music George Frideric Handel Costume design Anna French Set design Richard Roberts Lighting design Rachel Burke Reproduced by John Berrett

Tim Harbour’s choreography supported by The Robert Southey Fund for Australian Choreography, endowed by The Sidney Myer Fund

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ThE AUSTRAlIAN BAllET’S oNSTAGE AChIEVEMENTS WERE RECoGNISED WITh A NUMBER oF PRESTIGIoUS ACColADES AWARDED IN 2010

• Danielle Rowe won the Helpmann Award for Best Female Dancer in a Dance or Physical Theatre Production for her performance in Wayne McGregor’s Dyad 1929.

• Graeme Murphy won a Betty Pounder Award for Choreography at the Green Room Awards for Firebird.

• Lana Jones won the Green Room Award for Best Female Dancer for her performances in the title role of Firebird and Dyad 1929.

• Lana also took home the Outstanding Performance by a Female Dancer award at the Australian Dance Awards, again for her performance in Firebird. This accolade meant Lana swept the trifecta of major dance awards, having also won Helpmann (in 2009) and Green Room awards.

• Shortly before passing away, William ‘Bill’ Akers AM (1929 – 2010) was announced as the recipient of the Australian Dance ‘Lifetime Achievement’ Award. Bill was an inaugural member of The Australian Ballet, joining the company for its first season in 1962 as technical director. He had a 32-year association with the company, as well as a theatre career spanning over six decades.

• In a world first, the Telstra Ballet Dancer Award was a tie. Dana Stephensen and Ty King-Wall took home the prestigious main prize, while Amy Harris was awarded the People’s Choice Award for the second time.

ACClAIMED BAllET STARS FRoM ACRoSS ThE WoRlD JoINED oUR CoMPANY FoR A NUMBER oF PERFoRMANCES IN MElBoURNE AND SYDNEY

• As part of an exchange program with The Australian Ballet Alexander Campbell, first soloist with the Birmingham Royal Ballet, danced as Franz in Coppélia with Gina Brescianni in Sydney.

• With generous funding from the Joan & Peter Clemenger Trust, American Ballet Theatre Principal Artist David Hallberg travelled to Melbourne to perform with Kirsty Martin in The Nutcracker.

• Birmingham Royal Ballet principal and star of Mao’s Last Dancer, Chi Cao, reignited his onscreen partnership with Madeleine Eastoe on the stage in Sydney as the Prince in The Nutcracker.

achieve excellence on both sides of the curtain


STAFF MEMBERS RECEIVED A VARIETY oF SCholARShIPS AND TRAINING oPPoRTUNITIES FoR PRoFESSIoNAl DEVEloPMENT

• Travelling scholarships were awarded to eight members of staff in 2010. Recipients included dancers Adam Bull (Khitercs Scholarship), Matthew Donnelly (George Garrett Scholarship), Rohan Furnell (Marigold Southey Scholarship) and Lana Jones (Khitercs Scholarship).

• On the other side of the curtain Company Manager Robyn Fincham (Marigold Southey Scholarship), Corporate Relations Account Manager Libby Gauld (Marigold Southey Scholarship), Assistant Stage Manager Victoria Woolley (George Garrett Scholarship) and Store Operations Manager Warren Rice (Noel Pelly Scholarship) were also awarded scholarships for international travel.

• Associate Executive Director Philippe Magid and Bequests Manager Donna Brearley also received funding for international study tours from the Clemenger Travel Awards.

• Technical and Production Director Darren Conway and Customer Relations Manager Amalia Horden completed an intensive training program - The Australian Applied Management Colloquium.

ThE AUSTRAlIAN BAllET’S ExPERTISE WAS RECoGNISED AS A NUMBER oF STAFF WERE ASKED To PRESENT AT CoNFERENCES IN AUSTRAlIA AND oVERSEAS

• Artistic Director David McAllister and Executive Director Valerie Wilder attended the International Society for the Performing Arts conference in New York.

• Associate Executive Director Philippe Magid and Customer Relations Manager Amalia Horden presented at the Tessitura Learning and Community conference in Washington DC.

• Education Consultant Helen Cameron presented at the National Forum for the Arts in Sydney, speaking on the place for dance in the national education curriculum.

• Corporate Relations Manager Sophie Webster presented at the Sponsorship Australasia Conference on the company’s 26-year partnership with Principal Sponsor Telstra.

• Physiotherapist Sophie Emery and Body Conditioning Specialist Paula Baird-Colt represented The Australian Ballet by presenting at the 2010 International Association for Dance Medicine and Science conference in Birmingham, United Kingdom.

IN A MAJoR loGISTICAl UNDERTAKING, ThE CoMPANY PRESENTED GRAEME MURPhY’S Nutcracker – the Story of clara oUTSIDE AUSTRAlIA FoR ThE FIRST TIME

• The company’s tour of Graeme Murphy’s Swan Lake and Nutcracker – The Story of Clara to Tokyo and Nagoya was a great success. This was the company’s first staging of Murphy’s Nutcracker outside Australia in what was a major technical achievement.

Ty King-Wall, Dana Stephensen and Amy Harris accept their Telstra Ballet Dancer Awards Photography Ted Sealey

Lucinda Dunn in Tokyo Photography Lisa Tomasetti


CoNTINUED ExPloRATIoN oF oNlINE TEChNoloGIES AND ThE EVER-ExPANDING SoCIAl MEDIA SPACE ENABlED ThE BAllET To CoNTINUE To GRoW STRoNG RElATIoNShIPS WITh ITS VAST oNlINE AUDIENCE

• After launching in 2009, The Australian Ballet’s popular blog Behind Ballet received a total of 278, 645 visits from 179 countries in 2010 – the most popular being Australia, the United States, Sweden, Great Britain and Russia.

• The company’s Facebook page more than tripled in size and has more than three times the number of ‘likes’ than any other performing arts organisation in Australia. Almost 23,000 people ‘liked’ the company in 2010.

• The Australian Ballet launched a number of Twitter accounts. In a company first, all Telstra Ballet Dancer Award nominees became our first official Tweeters, paving the way for a dedicated Australian Ballet Twitter account that was coincided to launch with the company’s 2011 season launch.

• Film collective The Apiary were engaged as the company’s new online mini-documentary content creators. The Ballet shared their content across a much wider platform in 2010 – on Facebook, YouTube, Twitter and the blog, along with the traditional home of the corporate website.

• The company continued to make changes to its website australianballet.com.au to improve useability. In 2010 36% of subscriptions and 68% of single ticket sales were booked online. The site averaged 60,000 visits per month, while the average time spent on the site was almost five minutes.

ThE AUSTRAlIAN BAllET ATTRACTED AN INCREASED lEVEl oF MEDIA ATTENTIoN IN 2010

• The Australian Ballet generated its largest volume of media coverage on record, with a 37% increase from 2009.

BAllET FoR WESTERN SYDNEY

• The NSW Government provided $35,000 to The Australian Ballet to support its initiatives in Western Sydney to expand the company’s education footprint in the region. The funding enabled the company to hold more educational workshops with partners such as the Joan Sutherland Performing Arts Centre, Blacktown Arts Centre and Campbelltown Arts Centre.

ThE CoMPANY PRESENTED A RANGE oF PERFoRMANCES oUTSIDE oF MAINSTAGE VENUES INClUDING oUTDooR STADIUMS AND ThRoUGhoUT REGIoNAl AUSTRAlIA

• The Dancers Company, The Australian Ballet’s regional touring arm, travelled to Western Australia for the first time in 27 years, as well as to venues in regional Victoria and South Australia.

• In November 2010, The Australian Ballet performed its annual free outdoor event, sponsored by Telstra in Western Sydney on the hallowed turf of the Penrith Panthers’ rugby league club. Telstra Ballet in the Stadium was warmly embraced by the local community with 3000 people enjoying ballet under the stars, despite poor weather conditions.

engage more people in the art form

SPECIAl CoMMUNITY PRoGRAMS AND ChARITY EVENTS PRoVIDED DISADVANTAGED PEoPlE WITh ThE ChANCE To ExPERIENCE BAllET

• The Australian Ballet continued to support the National Companion Card scheme, allowing affordable access for people needing a carer to all of our shows in every city.

• The company worked with Vision Australia to provide audio descriptions for vision-impaired patrons to selected performances.

• Auslan interpretation was professionally provided for patrons with hearing impairments at Introduction to the Ballet programs and tours of the Primrose Potter Australian Ballet Centre in Melbourne.

• The Australian Ballet made 115 donations of tickets and merchandise to charities and not-for-profit organisations to a total value of $22,990.

• The company supported the Ovarian Cancer Research Fund and the Royal Women’s Hospital through an exclusive fundraising preview of The Nutcracker in Melbourne.

EDUCATIoN PRoGRAMS WERE GREATlY ExPANDED IN 2010

• The Australian Ballet presented 535 education events in 2010, an increase of 18% from 2009. Events consisted of classes, workshops, tours, special days, Q&As, in-theatre and in-community talks.

• In 2010, after a three-year trial, Out There – The Australian Ballet in schools became a permanent fixture on the company’s education calendar. Delivered by members of The Australian Ballet’s Dance Education Ensemble, the program encourages students to be alert, fit and imaginative as they explore the concept of movement. A total of 385 workshops, demonstrations and forums were presented across Australia in 2010.

ThE AUSTRAlIAN BAllET oFFICIAllY lAUNChED ITS Ballet V faShioN PRoJECT, A ThREE-YEAR INITIATIVE ExPloRING ThE ShARED hISToRY oF BAllET AND FAShIoN

• The company worked with designers Alpha60 and chip chop! to develop an exclusive range of limited edition merchandise, sold exclusively through The Australian Ballet’s website. As a result, merchandise sales are steadily growing, with a 20% increase on 2009 sales.

• A highlight of the Ballet V Fashion project in 2010 was the sold-out Bodytorque program where five emerging choreographers were paired with six emerging fashion designers to create five new works as part of Bodytorque.à la mode at the Sydney Theatre.

• After announcing the Ballet V Fashion initiative, the company was invited to perform a section of Graeme Murphy’s The Silver Rose at Government House for the official opening of the L’Oréal Melbourne Fashion Festival.

ThE AUSTRAlIAN BAllET WAS ThE MoST PoPUlAR oRGANISATIoN To PARTICIPATE IN TEST DRIVE ThE ARTS

• Arts Victoria’s Test Drive the Arts program is a new platform designed to allow people who have never experienced a particular art form before to do so free of charge (ticket costs are covered by Arts Victoria). The Australian Ballet was the most popular arts organisation involved in the initiative with all tickets offered to particular programs sold out in record time.

A Box oFFICE WAS ESTABlIShED AT oUR MElBoURNE hEADQUARTERS

• A box office was established at The Primrose Potter Australian Ballet Centre in 2010 allowing our customers to purchase tickets, subscriptions and merchandise in person.

Principal Artist Lana Jones greets fans at the Telstra Ballet in the Stadium free performance in Penrith Photography Ted Sealey

Artists of The Australian Ballet with models and then Director Karen Webster at L’Oréal Melbourne Fashion Week



ensure a sustainable business platform

ANoThER YEAR oF SIGNIFICANTlY STRoNG RESUlTS AT ThE Box oFFICE WAS MADE PoSSIBlE BY CoNTINUED DEVEloPMENTS IN CUSToMER RElATIoNShIP MANAGEMENT AND BY CAPITAlISING oN A RESURGING INTEREST IN DANCE IN ThE CoMMUNITY

• Subscriber levels were at their highest since 1996 in Sydney (18367) and 1992 in Melbourne (13673). The retention of subscribers in both cities was also strong at 92%. Paid capacity across all cities was excellent at 83.7%, while Sydney saw paid capacity rise to 92.46%.

• 47% of single ticket sales were sold through the Ballet’s in-house channels, rather than directly through venues, an increase of 26% from 2009.

PhIlANThRoPY CoNTINUED To BE A MAJoR FoCUS FoR ThE CoMPANY, REFlECTED IN AN INCREASE IN CoNTRIBUTIoNS. A MAJoR GIFT FRoM ThE IAN PoTTER FoUNDATIoN INTRoDUCED A NEW CoNCEPT oF GIVING.

• Annual giving increased by 16% in 2010, to $2.35M from $2M in 2009. New donors to the company totalled 340, yet most of the income growth came from existing donors who chose to increase their gifts.

• On 10 February 2010, Chairman Chris Knoblanche announced that The Ian Potter Foundation had made a major donation of $8 million for the redevelopment of the company’s 22-year-old Melbourne headquarters, education and other projects. On the same day, the building was renamed the Primrose Potter Australian Ballet Centre – in celebration and honour of an extraordinary 35-year involvement between the Ballet and Lady Primrose Potter AC.

• The donation is being received as a grant of $4 million over five years, together with a matching grant of up to $4 million that will match new funds raised by The Australian Ballet on a dollar-for-dollar basis up to $4 million. This concept of ‘matched giving’ has greatly inspired new and existing donors.

• Jessica Fyfe was named the 2010 recipient of the Paulette Carson Scholarship – a unique fund established to support one member of the corps de ballet every year.

MAJoR INFRASTRUCTURE PRoJECTS GAINED MoMENTUM

• Upon receipt of the first instalment of The Ian Potter Foundation gift, a number of studies and cost estimates have been undertaken and some projects started on refurbishing the company’s Melbourne headquarters.

• In 2013 the company’s costume and scenery store in Kensington must move from its current location. A detailed functional brief was completed in 2010 and various sites or buildings are being evaluated.

CoRPoRATE PARTNERS CoNTINUED To GENERoUSlY SUPPoRT ThE AUSTRAlIAN BAllET IN 2010

• The corporate relations team reported the highest net contribution to the company in six years. Seven new sponsors joined in partnership with The Australian Ballet, and major new relationships were inititated with Volvo, Kawai Pianos, Vintage Cellars and STVDIO.

• 2010 marked 26 years of partnership with Principal Sponsor Telstra. Telstra’s suite of long-running initiatives included the Telstra Ballet Dancer Award, principal sponsorship of The Dancers Company regional tour and sponsorship of the annual free outdoor performance (2010’s Telstra Ballet in the Stadium). These events provided an opportunity to leverage the partnership between Telstra and The Australian Ballet and were great successes. 2010 also saw the Ballet’s involvement in the Telstra Assistance Fund, a program where equipment is provided to sporting or community clubs across Australia – dance groups in the regions visited by The Dancers Company benefited from the program for the first time.

• Lead Sponsor NAB’s Dance the Dream program was another success with over 700 entries received nationwide. 2010 also saw NAB renew their relationship with the company with an increased commitment to the Ballet’s in-schools education program.

• For the third year in a row, dancers travelled to qualia on Hamilton Island (a sponsor of The Australian Ballet) for Pas de deux in Paradise, an exclusive weekend of audience engagement activities and a performance under the stars. The event was a great success in terms of audience numbers and media attention for the unique nature of the weekend.

ThE AUSTRAlIAN BAllET ENCoURAGED ThE DEVEloPMENT oF TRADITIoNAl ThEATRE CRAFTS To ENSURE ACCESS CoNTINUES INTo ThE FUTURE

• The company received $20,000 through the Australia Council for the Arts for the employment and training of much-needed wardrobe technicians.

commit to innovation

ThE AUSTRAlIAN BAllET CoNTINUED ITS CoMMITMENT To ARTISTIC INNoVATIoN

• The company’s highly successful choreographic development program, Bodytorque, featured brand new works created by the next generation of Australia’s choreographers, predominantly current dancers of The Australian Ballet. In its seventh year, Robert Curran, Daniel Gaudiello, Alice Topp, Damien Welch and Expressions Dance Company’s Timothy Brown inspired audiences by presenting explosive new works that manipulated the fashion of dance with Bodytorque.à la mode.

• Edge of night featured a world premiere creation by Tim Harbour – his mainstage debut for The Australian Ballet. Bluebottle were commissioned to create the stage concept and lighting design for the production – a collaborative first for both companies.

ThE CoMPANY CoNTINUED ITS CoMMITMENT To MEDICAl INNoVATIoN

• In 2010, the number of injuries to dancers was the lowest recorded in ten years, with Workcover and medical costs falling considerably. Many preventative strengthening programs, introduced over the past seven years, have seen a significant increase in dancer’s general physical resilience. 2010 saw an increase in the use of real-time ultrasound techniques to guide ongoing screening and injury prevention programs.

• Between 2008 and 2010, The University of Queensland was commissioned by The Australian Ballet to research issues surrounding lower back pain in dancers – the results have provided great insight and helped The Australian Ballet’s medical team to tailor their strengthening programs to specific needs. The results have been submitted for publication in 2011.

CUSToMER RElATIoNShIP MANAGEMENT SYSTEM ToolS WERE ExPANDED

• Through Tessitura, the company’s customer relationship management system, a new email messaging system was employed organisation-wide. Wordfly allows the marketing, philanthropy, corporate relations and media relations departments to create and deploy their own customised email communications which are integrated with Tessitura to enable detailed tracking of communications and response.


Vivienne Wong and Calvin Hannarford in Alice Topp’s Trace from Bodytorque.à la mode. Photography Branco Gaica


2010 2009 2008 2007

Mainstage performances Victoria 63 61 60 63 New South Wales 89 89 89 90 South Australia 6 6 5 6 Queensland 6 - 7 6 Western Australia - 7 - -

Free open air performances Melbourne - - 1 - Brisbane - 1 - 1 Sydney 1 - - - Subtotal 165 164 162 166

overseas United Kingdom - - 11 - Japan 7 - - 6 France - - 7 - Subtotal 7 - 18 6

The Dancers Company Victoria 6 9 8 7 South Australia 5 - 3 - New South Wales - - 1 8 Queensland - 5 - - Western Australia 4 - - - Tasmania - - - 4 Northern Territory - 4 5 - Subtotal 15 18 17 19 total 187 182 197 191

Artistic vibrAncy profile of works Australian New commissions 8 9 10 7 New acquisitions 2 - - - Revivals 13 9 7 3

overseas New acquisitions - 1 3 4 Revivals 3 8 11 6 total 26 27 31 20

key performance indicators

2010 2009 2008 2007 educAtion progrAm events

Melbourne 176 128 82 65 Sydney 115 56 33 64 Adelaide 59 62 11 9 Brisbane 8 - 13 12 Darwin - 2 2 - Alice Springs - 45 2 - Perth - 10 2 - Tasmania 30 - 3 2

Regional VIC 61 122 180 101 Regional NSW 77 30 11 11 Regional SA 5 - 6 - Regional QLD - - 7 - Regional WA 4 - 6 -

total 535 455 358 264


63 104,852 98,241 80.01%

89 121,992 116,800 92.46%

6 10,685 9,798 90.92%

6 9,867 8,540 67.23%

- - - -

164 247,396 233,379 85.61%

6 2,128 1,880 61.30%

- - - -

4 2,609 2,402 81.56%

- - - -

5 2,295 2,057 68.00%

- - - -

- - - -

15 7,032 6,339 70.14%

6 9,454 7,575 54.82%

1 1400 n/a n/a

- - - -

- - - -

- - - -

7 10,854 7,575 54.82%

1 3,000 - -

- - - -

- - - -

1 3,000 - -

187 268,282 247,293 83.70%

61 106,420 97,185 81.74%

89 122,661 116,029 90.80%

6 10,124 9,023 84.01%

- - - -

7 13,907 13,724 93.58%

163 253,112 235,961 86.73% 9 4,564 4,135 63.11%

5 3,616 3,379 69.09%

- - - -

- - - -

- - - -

- - - -

4 2039 1932 61.76%

18 15,058 13,145 81.39%

- - - -

- - - -

- - - -

- - - -

- - - -

- - - -

- - - -

- - - - 1 7,000 - - 1 7,000 - -

182 270,331 245,407 85.61%

Main company

Melbourne

Sydney

Adelaide

Brisbane

Perth

Subtotal

The Dancers Company

Victoria

Queensland

Western Australia

Tasmania

South Australia

New South Wales

Northern Territory

Subtotal

overseas

Tokyo

Nagoya

Paris

London

Manchester

Subtotal

Free performances

Penrith

Melbourne

Brisbane

Subtotal

total

No. of All Paid Paid performances attendances attendances capacity


2010 2009

62 105,130 92,180 75.07%

90 116,410 110,223 85.63%

6 10,776 9,960 93.26%

6 10,253 8,868 74.57%

- - - -

164 242,569 221,231 80.72%

7 4,186 3,640 85.27%

- - - -

- - - -

4 2,867 2,592 79.34%

- - - -

8 4,263 3,659 75.13%

- - - -

19 11,316 9,891 79.73%

6 9,576 8,179 59.19%

- - - -

- - - -

- - - -

- - - -

6 9,576 8,179 59.19%

- - - -

- - - -

1 7,000 - -

1 7,000 - -

190 270,461 239,301 79.70%

2007

Main company

Melbourne

Sydney

Adelaide

Brisbane

Perth

Subtotal

The Dancers Company

Victoria

Queensland

Western Australia

Tasmania

South Australia

New South Wales

Northern Territory

Subtotal

overseas

Tokyo

Nagoya

Paris

London

Manchester

Subtotal

Free performances

Darwin

Melbourne

Brisbane

Subtotal

total



60 92,263 83,356 71.28%

89 112,911 107,531 85.12%

5 8,484 7,820 87.87%

7 10,523 10,145 73.61%

- - - -

161 224,181 208,852 78.53%

8 3,742 3,254 86.91%

- - - -

- - - -

- - - -

3 2,867 2,592 79.34%

1 4,263 3,659 75.13%

5 4,186 3,640 85.27%

17 15,058 13,145 81.39%

- - - -

- - - -

7 7,744 7,637 43.64%

5 5,552 4,628 63.80%

6 5,732 4,680 44.14%

18 19,028 16,945 47.93%

- - - -

1 7,800

- - - -

1 7,800 - -

197 266,067 238,942 79.70%

2008

key performance indicators

32 The Australian Ballet 2010 Financial Report 33

CoNTENTS

the australian balletABN 57 004 849 9872010 ANNUAl FINANCIAl REPoRT

Directors’ Report 34

Auditor’s Independence Declaration 37

Consolidated Statement of Comprehensive Income 38

Consolidated Balance Sheet 39

Consolidated Statement of Changes in Equity 40

Consolidated Statement of Cash Flows 41

Notes to the Consolidated Financial Statements 42

Directors’ Declaration 53

Independent Audit Report 54



3

Directors’ Report

The Board of Directors of The Australian Ballet have pleasure in presenting their report for the year ended 31 December 2010. Directors

The following were directors of The Australian Ballet during the financial year: Robert Albert

John Borghetti

Toni Cody

Marilyn (Rowe) Cowden

Jim Cousins

Li Cunxin

John Ellice-Flint

Christopher Goldsworthy

Felicity Gunner

Christopher Knoblanche

Siobhan McKenna

Sarah Murdoch

Steven Skala

Peter Smedley

Julie Somers (da Costa)

Craig Spencer

Mr Steven Skala and Ms Felicity Gunner retired as directors effective 26 February 2010. Mr John Borghetti and Mr John Ellice-Flint were appointed directors on 26 February 2010. Miss Rowe continued her leave of absence from the previous year until the Annual General Meeting. At the Annual General Meeting a resolution was passed deleting Articles 31B (1) & (2) and Article 37 (i) from the Constitution effectively removing the position held on the Board by the Director of the Australian Ballet School. Miss Rowe ceased to be a director effective 26 May 2010. Mrs Toni Cody retired as director effective 26 May 2010. Mr Li Cunxin ceased to be a director effective 14 July 2010. Mr Christopher Goldsworthy and Ms Siobhan McKenna were appointed directors effective 14 July 2010.

Company Secretary

The company secretary is Ms Carol Benson CPA, ACIS. Ms Benson was appointed to the position of company secretary on 14 April 2009. Directors’ Interests

At the date of this report no directors held interests in shares in a related body corporate.

DIRECToRS’ REPoRT

4

Meetings of Directors The numbers of meetings of the company’s board of directors held during the year ended 31 December 2010, and the numbers of meetings attended by each director were:

Full meetings of Directors Elig Held Attd R Albert 7 7 5 J Borghetti 7 7 5 T Cody 3 7 3 J Cousins 7 7 7 L Cunxin 2 7 1 J Ellice-Flint 7 7 7 C Goldsworthy 4 7 4 F J Gunner 1 7 1 C Knoblanche 7 7 7 S McKenna 4 7 4 S Murdoch 7 7 4 S Skala 1 7 1 P Smedley 7 7 6 J Somers 7 7 7 C Spencer 7 7 6

Directors’ Benefits

Neither during the financial year nor since the financial year end has a director received or become entitled to receive a benefit (other than a benefit included in the amounts paid or payables to directors as disclosed in the financial statements) by reason of a contract with the director, a firm of which the director is a member, or an entity in which the director has a substantial financial interest, by The Australian Ballet, or an entity that The Australian Ballet controlled, or a body corporate that was related to The Australian Ballet when the contract was made or when the director received or became entitled to receive the benefit. Principal Activities

During the financial year, the principal activities of the company constituted by The Australian Ballet (the parent entity), and the activities it controlled, were:

Promoting , encouraging and producing ballet in Australia and overseas; Property investment and management; and Acting as a corporate trustee.

There was no significant change in the nature of the above activities during the financial year. Consolidated Result

The net consolidated result of the company for the financial year ended 31 December 2010 was a surplus of $5,046,037 (2009: consolidated surplus of $7,672,941). Significant Changes in the state of affairs

There was no significant change in the state of affairs of the company during the financial year.


5

Review of Operations The artistic success of The Australian Ballet continued in 2010 when 164 main stage performances were presented in Melbourne, Sydney, Adelaide and Brisbane. Audience capacity in Melbourne averaged over 80% whilst in Sydney average capacity was over 90%. This onstage success translated into a positive financial result with core Ballet operations achieving a modest surplus of $61,651. The Primrose Potter Australian Ballet Centre which operates the car park recorded a surplus of $2,608,094 whilst The Australian Ballet Foundation Fund recorded a surplus of $2,376,292. Matters subsequent to the end of the financial year

On 6 March 2010 property owned and leased by The Australian Ballet suffered significant damage during the hail storm. Assessment of damage to costumes and sets and props located at the leased Kensington store took many months and the final settlement of the claim was only received in February 2011. Except for the matter disclosed above, no other matter or circumstance has arisen since 31 December 2010 that has significantly affected, or may significantly affect:

(a) the group's operations in future financial years; or (b) the results of those operations in future financial years; or (c) the group's state of affairs in future financial years.

Environmental Regulation

The company has a policy of complying with all relevant Federal and State Law environmental performance obligations. No environmental breaches have been notified by any government agency during the financial year ended 31 December 2010. Insurance and Officers

The Australian Ballet paid a premium in respect of a contract insuring its directors and officers against a liability of a nature that is required to be disclosed under Section 300 of the Corporate Law. In accordance with Subsection 300(9) of the Corporations Law, further details have not been disclosed due to confidentially provisions contained in the Insurance Contract.

Non-Audit Services

The board of directors has considered the position and, in accordance with advice received from the audit committee, is satisfied that the provision of the non-audit services is compatible with the general standard of independence for auditors imposed by the Corporations Act 2001. The directors are satisfied that the provision of non-audit services by the auditor, as set out below, did not compromise the auditor independence requirements of the Corporations Act 2001 for the following reasons: All non-audit services have been reviewed by the audit committee to ensure they do not impact the impartiality and objectivity of the auditor None of the services undermine the general principles relating to auditor independence as set out in APES 110 Code of Ethics for Professional Accountants.

During the financial year ended 31 December 2010, The Australian Ballet paid PricewaterhouseCoopers, the auditor, $2,200 for non-audit services. These services were related to taxation advice in regards to the Foundation Fund. Auditor’s Independence Declaration

A copy of the auditor’s independence declaration as required under section 307C of the Corporations Act 2001 is set out on page 6. Signed in accordance with a resolution of the Directors.

Mr Christopher P Knoblanche Mr Peter J Smedley Chairman Director 23 March 2011 23 March 2011

Liability limited by a scheme approved under Professional Standards Legislation

6

PricewaterhouseCoopersABN 52 780 433 757

Freshwater Place2 Southbank BoulevardSOUTHBANK VIC 3006GPO Box 1331MELBOURNE VIC 3001DX 77 MelbourneAustraliaTelephone 61 3 8603 1000Facsimile 61 3 8603 1999pwc.com.auAuditor’s Independence Declaration

As lead auditor for the audit of The Australian Ballet for the year ended 31 December 2010, Ideclare that to the best of my knowledge and belief, there have been:

a) no contraventions of the auditor independence requirements of the Corporations Act 2001 inrelation to the audit; and

b) no contraventions of any applicable code of professional conduct in relation to the audit.

This declaration is in respect of The Australian Ballet and the entities it controlled during the period.

John Yeoman MelbournePartner 23 March 2011PricewaterhouseCoopers


6


Freshwater Place2 Southbank BoulevardSOUTHBANK VIC 3006GPO Box 1331MELBOURNE VIC 3001DX 77 MelbourneAustraliaTelephone 61 3 8603 1000Facsimile 61 3 8603 1999pwc.com.auAuditor’s Independence Declaration

As lead auditor for the audit of The Australian Ballet for the year ended 31 December 2010, Ideclare that to the best of my knowledge and belief, there have been:

a) no contraventions of the auditor independence requirements of the Corporations Act 2001 inrelation to the audit; and

b) no contraventions of any applicable code of professional conduct in relation to the audit.

This declaration is in respect of The Australian Ballet and the entities it controlled during the period.

John Yeoman MelbournePartner 23 March 2011PricewaterhouseCoopers

page 37.


8

Consolidated Statement of Comprehensive Income for the year ended 31 December 2010

Consolidated Notes 2010

$ 2009

$

Revenue from Continuing Operations Revenue - The Australian Ballet 3 27,011,896 25,927,196 Revenue - The Primrose Potter Australian Ballet Centre 4 3,738,626 3,209,624 Total Revenue from Continuing Operations 30,750,522 29,136,820

Other Income Subsidies and government grants – The Australian Ballet 5 6,968,184 6,835,849 Total Revenue from Continuing Operations and Other Income 37,718,706 35,972,669

Expenditure Artistic 10,144,452 10,209,664 Production and Stage 9,541,305 7,985,412 Marketing and Communications 4,878,873 4,940,933 Sponsorship and Philanthropy 1,962,828 2,294,608 Administration incl Finance Costs 2,846,582 2,856,525 Domestic Touring 3,050,185 3,056,652 International Touring 442,269 5,550 Facilities – The Primrose Potter Australian Ballet Centre 2,813,050 2,094,707 Total Expenditure 35,679,544 33,444,05 NET SURPLUS/(DEFICIT) FROM CONTINUING OPERATIONS 2,039,162 2,528,618 The Australian Ballet Foundation

Investment Revenue 964,101 697,014 Net movement in the fair value of financial assets held for trading (221,667) 3,677,127 Total Foundation Investment Revenue 742,434 4,374,141 Expenditure

Other Expenditure 23 829,976 40,866 Scholarships 2,955 32,460 Total Foundation Expenditure 832,931 73,326

Results from Foundation Investment Activities (90,497) 4,300,815 .Foundation Donations and Bequests Revenue 3,097,372 843,508 Total Foundation Reserves Revenue 3,006,875 5,144,323 SURPLUS/(DEFICIT) FOR THE YEAR 5,046,037 7,672,941 SURPLUS /(DEFICIT) ATTRIBUTABLE TO: 6(b) The Australian Ballet 61,651 220,131 The Primrose Potter Australian Ballet Centre 2,608,094 2,308,486 The Australian Ballet Foundation 2,376,292 5,144,322

5,046,037 7,672,941 . The above Consolidated Statement of Comprehensive Income should be read in conjunction with the accompanying notes

CoNSolIDATED STATEMENT oF CoMPREhENSIVE INCoME FoR ThE YEAR ENDED 31 DECEMBER 2010

CoNSolIDATED BAlANCE ShEET AS AT 31 DECEMBER 2010

9

Consolidated Balance Sheet as at 31 December 2010


$ 2009

$

CURRENT ASSETS Cash and cash equivalents 20,823,915 15,554,286 Trade and other receivables 7 2,168,970 793,261 Financial assets held for trading 8 10,301,861 10,230,072 Prepayments 9 505,152 895,760 TOTAL CURRENT ASSETS 33,799,898 27,473,379 NON-CURRENT ASSETS Property, plant and equipment 10 8,296,283 8,351,983 Intangible Assets 11 81,409 109,583 TOTAL NON-CURRENT ASSETS 8,377,694 8,461,506 TOTAL ASSETS 42,177,590 35,934,885 CURRENT LIABILITIES Trade and other payables 12 1,762,748 1,026,082 Income received in advance 13 10,810,480 10,350,284 Provisions 14 1,769,578 1,656,367 TOTAL CURRENT LIABILITIES 14,342,806 13,032,733 NON-CURRENT LIABILITIES Provisions 14 206,291 323,694 TOTAL NON-CURRENT LIABILITIES 206,291 323,694 TOTAL LIABILITIES 14,549,097 13,356,427 NET ASSETS/(LIABILITIES) 27,628,493 22,578,458 EQUITY Retained Surplus/(Deficit) 25 13,893,472 11,268,914 General reserves 25 246,000 242,000 Foundation Capital Reserve 2 (g),25 13,489,021 11,067,544 TOTAL EQUITY 27,628,493 22,578,458 The above Consolidated Balance Sheet should be read in conjunction with the accompanying notes.


10

Consolidated Statement of Changes in Equity for the year ended 31 December 2010


$ 2009

$

STATEMENT OF RETAINED SURPLUSES Opening balance at the beginning of the year 11,268,916 4,548,153 Net surplus/(deficit) from continuing activities 2,039,162 2,528,618 Net surplus/(deficit) from Foundation investment activities (90,497) 4,300,815 Income from Foundation bequests and donations 3,097,372 843,508 Transfer to Foundation Capital reserves (2,421,477) (952,178) RETAINED SURPLUS/(DEFICIT) AT 31 DECEMBER 2010 13,274,940 11,268,916

GENERAL RESERVES Production Reserves Opening balance at the beginning of the year 200,000 200,000 Production Reserves at 31 December 2010 200,000 200,00

Asset Revaluation Reserve Opening balance at the beginning of the year 42,000 42,000 Arising on revaluation of paintings 4,000 - Asset Revaluation Reserve at 31 December 2010 46,000 42,000 GENERAL RESERVES AT 31 DECEMBER 2010 25 246,000 242,000

FOUNDATION CAPITAL RESERVES Opening balance at the beginning of the year 11,067,544 10,115,366 Transfer from retained surplus 2,421,477 952,178 Foundation Capital Reserves at 31 December 2010 25 13,489,021 11,067,544 EQUITY RESERVES AT 31 DECEMBER 2010 27,628,497 22,578,460 The above Consolidated Statement of Changes in Equity should be read in conjunction with the accompanying notes.

CoNSolIDATED STATEMENT oF ChANGES IN EQUITY FoR ThE YEAR ENDED 31 DECEMBER 2010

11

Consolidated Statement of Cash Flows for the year ended 31 December 2010


$ 2009

$

Cash flows from operating activities Receipts inclusive of goods and services tax from:

Box office and performance fees 22,322,241 20,612,200 Sponsorships and donations 5,841,551 5,918,575 Government Grants and Other subsidies 7,659,275 7,466,042

Property rental 3,476,195 3,419,625 Interest received 460,368 185,068 Other revenue 525,908 859,840

40,285,538 38,461,350

Payments to suppliers and employees (inclusive of goods and services tax) (36,696,465) (33,716,007) (36,696,465) (33,716,007) Net cash provided by/(used in) operating activities 3,589,073 4,745,343 Cash flows from investing activities Payment for property, plant and equipment (781,655) (244,170) Proceeds from disposal of investments - 9,558 Redemption of Investments - 300,000 Purchase of financial assets - (221,203) Foundation donations and bequests 3,097,372 843,508 Interest received from investing activities 331,687 209,726 Dividends received from investing activities 142,567 119,781 Refund of imputation credits 140,387 191,456 Payment to suppliers (1,249,804) (85,822) Net cash provided by/(used in) investing activities 1,680,554 1,122,834 Net increase/(decrease) in cash and cash equivalents 5,269,627 5,868,177 Cash and cash equivalents at the beginning of the year 15,554,286 9,686,109 Cash and cash equivalents at the end of the year 26 20,823,913 15,554,286 The above Consolidated Statement of Cash Flows is to be read in conjunction with the accompanying notes.

CoNSolIDATED STATEMENT oF CASh FloWS FoR ThE YEAR ENDED 31 DECEMBER 2010

200,000


12

Notes to the Consolidated Financial Statements

1 CORPORATE INFORMATION The financial statements of The Australian Ballet for the year ended 31 December 2010 was authorised for issue in

accordance with a resolution of the directors on 23 March 2011. The nature of The Australian Ballet’s operations and principal activities is disclosed in the Directors’ Report. The Australian Ballet is a company limited by guarantee incorporated in Australia.

2 SUMMARY OF SIGNIFICANT ACCOUNTING POLICIES The principal accounting policies adopted in the preparation of these consolidated financial statements are set out

below. These policies have been consistently applied to all the years presented, unless otherwise stated. The financial statements are for the consolidated entity consisting of The Australian Ballet and its subsidiaries.

(a) Basis of Accounting These general purpose financial statements have been prepared in accordance with Australian Accounting Standards

– Reduced Disclosure Requirements, other authoritative pronouncements of the Australian Accounting Standards Board, Urgent Issues Group Interpretations and the Corporations Act 2001. Compliance with Australian Accounting Standards – Reduced disclosure Requirements The consolidated financial statements of the Australian Ballet’s group comply with Australian Accounting Standards – Reduced Disclosure Requirements as issued by the Australian Accounting Standards Board (AASB). Early adoption of standards The group has elected to apply the following pronouncements to the annual reporting period beginning 1 January 2010:

- AASB 2009-5 Further Amendments to Australian Accounting Standards arising from the Annual Improvements Project

- AASB 1053 Application of Tiers of Australian Accounting Standards and AASB 2010-2 Amendments to Australian Accounting Standards arising from Reduced Disclosure Requirements

This includes applying the revised pronouncement to the comparatives in accordance with AASB 108 Accounting Policies, Changes in Accounting Estimates and Errors. The adoption of AASB 1053 and AASB 2010-2 allowed the entity to remove a number of disclosures. There was no other impact on the current or prior year financial statements.

(b) Historical cost convention The financial statements have been prepared on the historical cost basis except for held for trading financial assets which have been measured at fair value through the profit and loss.

(c) Statement of compliance Accounting Standards include Australian equivalents to International Financial Reporting Standards. (d) Critical Accounting Estimates In the application of the consolidated entity’s policies, management is required to make judgements, estimates and

assumptions about carrying values of assets and liabilities that are not readily apparent from other sources. The estimates and associated assumptions are based on historical experience and various other factors that are believed to be reasonable under the circumstance, the results of which form the basis of making the judgements. Actual results may differ from these estimates.

The estimates and judgements that have significant risk of causing a material adjustment to the carrying amounts of

assets and liabilities within the next financial year are set out as appropriate in the Notes to the Financial Statements. The estimates and underlying assumptions are reviewed on an ongoing basis. Revisions to accounting estimates and

underlying assumptions are recognised in the period in which the estimate is revised if the revision affects only that period, or in the period of the revision and future periods if the revision affects both current and future periods.

(e) Comparatives Where a change in accounting treatment has resulted in significant differences between financial years, prior year

data has been reclassified to assist comparison.

NoTES To ThE CoNSolIDATED FINANCIAl STATEMENTS

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(f) Basis of consolidation The consolidated financial statements presented combines the financial statements of all the entities in the group

constituted by The Australian Ballet and the entities it controls. Note 20 provides details of the entities comprising the consolidated entity. The effects of all transactions between entities in the group have been eliminated in full.

The financial statements of subsidiaries are prepared for the same reporting period as the parent company using consistent accounting policies. Subsidiaries are consolidated from the date on which control is transferred to the Consolidated Entity and cease to be consolidated from the date on which control is transferred out of the Consolidated Entity. Where there is loss of control of a subsidiary, the consolidated financial statements include the results for the part of the reporting period during which The Australian Ballet has control.

(g) Foundation Reserves Foundation reserves comprise:-

a) Capital Protected - funds are donated with the express request that the principal be invested to deliver investment returns available to meet the intentions of the donor.

b) Non Capital Protected - funds are donated with the express request that the principal is available to meet the intentions of the donor.

(h) Revenue Recognition Policy * Subscriptions and box office income Subscription and box office income from performance ticket sales are recognised when performances, for which the

tickets were sold, take place. * Performance fees Performance fees are recognised as revenue when the performance takes place. * Sponsorships and Subsidies and Government Grants Sponsorships, Subsidies and Government grants are recognised in the period to which the subsidies and grants relate

or to the period for which they are paid. Government grants are normally paid for the specific calendar years. Sponsorships and subsidies which relate to specific performances are brought to account in the year the performances are given.

* Donations Donations are recognised as revenue when they are received, unless they relate specifically to an event, in which case

the donations are recognised in the same period as the event take palace. * Interest revenue Interest revenue is recognised on a time proportionate basis that takes into account the effective yield on the

financial assets. * Dividend revenue Dividend revenue is recognised when dividends are received. (i) Income Tax The entities in the consolidated entity are exempt from income tax and no provision is required. (j) Depreciation and amortisation of property, plant and equipment The depreciation rates used are such that the assets are written off over their expected lives. The method of write-off

and the rates are those considered appropriate to each class of assets. Land is not depreciated. Leasehold improvements are amortised over the period of the lease. The applicable rates are as follows:

Assets Category Rate Buildings 2% - 15% Plant & Equipment 10% - 30% Leasehold Improvements 15% Impairment The carrying values of plant and equipment are reviewed for impairment when events or changes in circumstance

indicate the carrying value may not be recoverable. For an asset that does not generate largely independent cash inflows, the recoverable amount is determined for the cash-generating unit to which the asset belongs. If any such indication exists and where the carrying values exceed the estimated recoverable amount, the assets or cash-generating units are written down to their recoverable amount.


14


(k) Production, Marketing and Communication Costs The cost of each new production is written off in the year in which it is first mounted. Costs of remounting former

productions are written off in the year incurred.

In accordance with AASB138 Intangible Assets, The Australian Ballet expenses advertising and promotional costs as incurred. The treatment has been applied from 1 January 2009 in accordance with amendment 2008-5.

(l) Provision and Employee Entitlements Provisions Provisions are recognised when the Consolidated Entity has a present obligation (legal or constructive) as a result of a

past event, it is possible that an outflow of resources embodying economic benefits will be required to settle the obligation and a reliable estimate can be made of the amount of the obligation.

If the effect of the time value of money is material, provisions are determined by discounting the expected future

cash flows at a pre-tax rate that reflects current market assessments of the time value of money and, where appropriate, the risks specific to the liability.

Employee Benefits The following liabilities arising in respect of employee benefits are measured at their nominal amounts: * Wages and salaries, annual leave and other leave regardless of whether they are expected to be settled within

twelve months of balance date. * Other employee’s benefits which are expected to be settled within twelve months of balance date. Other employee benefits, including long service leave, are measured at the present value of expected future

payments to be made in respect of services provided by employees up to the reporting date using the projected unit credit method. Consideration is given to expected future wages and salary level, experience of employee departures and periods of service. Expected future payments are discounted using market yield at the reporting date on national government bonds with terms to maturity and currency that match, as closely as possible, the estimated future cash outflows.

(m) Trade and other receivables

Trade receivables, which generally have 30-90 day terms, are recognised and carried at original invoice amount reduced by any provision for impairment. An estimate for impairment is made when collection of the full amount is no longer probable. Bad debts are written off when identified.

(n) Cash and cash equivalents For consolidated statement of cash flow presentation purposes, cash and cash equivalents include cash on hand,

deposits held at call with financial institutions, other short-term, liquid investments with original maturities of three months or less that are readily convertible to known amounts of cash and which are subject to an insignificant risk of changes in value.

(o) Payables These amounts represent liabilities for goods and services provided to the Group prior to the end of the financial year

which are unpaid. The amounts are unsecured and are usually paid within 30 days of recognition. (p) Finance costs Finance costs are recognised as an expense in the period in which they are incurred. (q) Operating Leases Leases in which a significant portion of the risks and rewards of ownership are not transferred to the Consolidated Entity as

lessee are classified as operating leases. Payments made under operating leases (net of any incentives received from the lessor) are charged to the consolidated statement of comprehensive income on a straight-line basis over the period of the lease. Lease income from operating leases where the Group is a lessor is recognised in income on a straight-line basis over the lease term.


15


(r) Recoverable amount of assets At each reporting date, the Consolidated Entity assesses whether there is any indication that an asset may be

impaired. Where an indicator of impairment exists, the Consolidated Entity makes a formal estimate of recoverable amount. Where the carrying amount of an assets exceeds its recoverable amount the assets is considered impaired and is written down to its recoverable amount. Recoverable amount is greater of fair value less costs to sell and value in use. It is determined for an individual assets, unless the asset’s value in use cannot be estimated to be close to its fair value less costs to sell and it does not generate cash inflows that are largely independent of those from other assets or groups of assets, in which case, the recoverable amount is determined for the cash-generating unit to which the assets belongs. In assessing value in use, the estimated future cash flows are discounted to their present value using a pre-tax discount rate that reflects current market assessments of the time value of the money and the risks specific to the assets.

(s) Financial assets held for trading All investments are initially recognised at cost, being the fair value of the consideration given and including

acquisition charges associated with the investment. After initial recognition, investments, which are classified as held for trading, are measured at fair value. Gains or losses on investments held for trading are recognised in the consolidated statement of comprehensive income. For investments that are actively traded in organised financial markets, fair value is determined by reference to Stock Exchange quoted market bid prices at the close of business on the balance sheet date. For investments where there is no quoted market price, fair value is determined by reference to the current market value of another instrument which is substantially the same or is calculated based on the expected cash flows of the underlying net assets base of the investments. Purchases and sales of financial assets that required delivery of assets within the time frame generally established by regulation or convention in the market place are recognised on the trade date i.e. the date that the Consolidated Entity commits to purchase the assets.

(t) Other Taxes Revenues, expenses and assets are recognised net of the amount of GST except: . Where the GST incurred on a purchase of goods and services is not recoverable from the taxation authority, in

which case the GST is recognised as part of the cost of acquisition of the assets or as part of the expenses item as applicable; and

. receivables and payables are stated with the amount of GST included. The net amount of GST recoverable from, or payable to, the taxation authority is included as part of receivables or

payables in the consolidated balance sheet. Cash flows are included in the Consolidated Statement of Cash Flows on a gross basis and the GST component of cash flows arising from investing and financing activities, which is recoverable from, or payable to, the taxation authority, are classified as operating cash flows. Commitments and contingencies are disclosed net of the amount of GST recoverable from, or payable to, the taxation authority.


16


2010 2009

$ $ 3 REVENUE – THE AUSTRALIAN BALLET

BOX OFFICE AND PERFORMANCE FEES Main Season 20,491,140 19,606,404 Dancers’ Company Tour 227,261 321,204 Performance fees 209,742 15,582 Programme fees 222,574 211,087 21,150,717 20,154,277

SPONSORSHIP AND DONATIONS

Sponsorships 2,485,606 2,577,332 Dancers’ Company Tour 151,995 161,400 Donations 2,334,820 2,272,971 4,972,421 5,011,703 Other Revenue 888,758 761,216 Total Revenue - The Australian Ballet 27,011,896 25,927,196

4 REVENUE – THE PRIMROSE POTTER AUSTRALIAN BALLET CENTRE

Rental Revenue 995,990 991,090 Car park Revenue 1,865,572 1,823,926 Other Revenue 877,064 394,608 Total Revenue - The Primrose Potter Australian Ballet Centre 3,738,626 3,209,624

5 OTHER INCOME

Subsidies and Governments Grants Commonwealth Government Australia Council, Major Organisations Fund MPAB Annual Grant 5,218,792 5,111,448 MPAB Digital Research & Development 19,625 - MPAB Fostering Artistic Vibrancy Grants 20,000 - MPAB Opportunities for Young and Emerging Artists Initiative 20,000 18,000 MPAB Project Grant – Interconnections Collaborations with Balletlab

- 30,000

Playing Australia 238,792 231,917 Australian Research Council for Ballet Russes project - 56,321 State Governments New South Wales 639,874 626,713 New South Wales – Other 12,475 12,218 New South Wales – Education 35,000 - Victoria 641,127 627,008 Victoria – Dancers’ Company Tour 60,000 60,000 Victoria – Other 12,499 12,224 Western Australia - 50,000 Queensland 50,000 - 6,968,184 6,835,849

6 THE OPERATING SURPLUS/(DEFICIT) includes - (a) Consolidated surplus/(deficit) includes: Gains (losses) on fair value adjustments to financial assets held for trading (221,667) 3,677,127 Depreciation of property, plant and equipment 869,469 882,215 Amortisation of lease incentives - 3,069 Employee benefits expense 14,929,711 13,811,668 Operating leases – minimum lease payments 472,825 420,356 Dancers Company Tour Costs 811,831 822,624


17


Consolidated 2010 2009 $ $

6 (b) Surplus/(Deficit) by Entity The Australian Ballet Consolidated Surplus/(Deficit) 1,113,587 1,413,701 Satisfaction of Donor Intent – revenue* 140,386 - Rent – Intercompany expense (1,149,352) (1,149,352) Parking – Intercompany expense (42,970) (44,218) Surplus/(Deficit) before consolidation 61,651 220,131 The Primrose Potter Australian Ballet Centre Consolidated Surplus/(Deficit) 925,575 1,114,916 Satisfaction of Donor Intent – revenue* 487,724 - Rent – Intercompany revenue 1,149,352 1,149,352 Parking – Intercompany revenue 45,442 44,218 Surplus/(Deficit) before consolidation 2,608,094 2,308,486 Australian Ballet Foundation Fund Consolidated Surplus/(Deficit) 3,006,875 5,144,322 Satisfaction of Donor Intent – expense* (628,110) - Parking – Intercompany expense (2,472) - Surplus (Deficit) before consolidation 2,376,292 5,144,322

*Relates to the allocation of donations from The Ian Potter Foundation.

7 TRADE AND OTHER RECEIVABLES – Current Trade receivables 451,727 534,453 451,727 534,453 Accrued income 1,574,728 168,203 GST receivable 142,515 9,199 2,168,970 711,855 Trade and other receivables are subject to normal terms of trade which generally provide for settlement within 30 days. The carrying amounts of receivables approximate net fair value which has been determined by reference to the present value of future net cash flows. The maximum credit risk exposure of receivables is presented by the carrying amount of assets recognised in the Consolidated Balance Sheet.

8 FINANCIAL ASSETS HELD FOR TRADING

Shares in Australian listed shares at market value as at 31 December 2010 10,301,861 10,230,072

Market value represents the net fair value of investments which have been determined by reference to quoted market bid prices at 31 December 2010. The maximum risk of investments is represented by the carrying amounts of assets recognised in the Consolidated Balance Sheet.

9 PREPAYMENTS Prepayments 505,152 895,760


18



10 PROPERTY, PLANT AND EQUIPMENT Freehold land at cost 1,670,000 1,670,000

Freehold Buildings -at cost 14,386,337 14,416,744 -improvements and additions at cost 304,433 114,184 Accumulated depreciation (8,846,334) (8,261,590) 5,844,436 6,269,338 Plant and equipment, at cost 1,875,857 1,423,654 Accumulated depreciation (1,175,984) (1,071,161) 699,873 352,493 Artworks at Valuation Date 1 December 2010 46,000 42,000 Accumulated depreciation - - 46,000 42,000

Leasehold improvements, at cost 348,240 319,864 Accumulated amortisation (312,266) (301,772) 35,974 18,092 Total property, plant and equipment 8,296,283 8,351,923

Freehold Buildings movement during the year: Beginning of the year 6,269,338 6,774,938 Additions 153,335 100,874 Transfer to Plant and Equipment 22,175 - Disposals - - Depreciation expense (600,412) (606,474) 5,844,436 6,269,338 Plant and Equipment movements during the year: Beginning of the year 352,493 353,241 Additions 571,241 142,095 Transfer to freehold Buildings (22,175) - Transfer from Leasehold Improvements 1,749 - Disposals (8,426) - Depreciation expense (195,009) (142,843) 699,873 352,493

Leasehold Improvements movements during the year: Beginning of the year 18,092 22,302 Additions 28,376 1,200 Transfer to Leasehold Improvements (1,749) - Disposals - - Depreciation expense (8,745) (5,410) 35,974 18,092 A sworn market valuation of $48,515,000 was provided on the land and buildings during the year ended 31 December 2007 by Rushton Valuers. As the valuation exceeds that stated in the Consolidated Balance Sheet, it has been decided to continue to state the assets at historical cost. The valuation is not part of a regular revaluation policy and takes no account of capital gains tax.


19



11 INTANGIBLE ASSETS Website development and Accounting Software - at cost 497,673 460,549 Accumulated amortisation (416,264) (350,966) 81,409 109,583 Intangible assets movements during the year: Beginning of the year 109,583 239,160 Additions 37,124 - Disposals - - Amortisation Expense (65,298) (129,577) 81,409 109,583

12 TRADE AND OTHER PAYABLES - Current

Taxes Payable 79,284 - Trade Payables 1,683,464 1,026,082 1,762,748 1,026,082 Trade payables are subject to normal terms of trade with settlement up to 30 days. The carrying amounts of payables approximate net fair values, which have been determined by reference to the present value of future net cash flows.

13 INCOME RECEIVED IN ADVANCE Box Office 10,068,114 9,449,436 Sponsorship 139,143 137,465 Other 603,223 763,383 10,810,480 10,350,284

14 PROVISIONS – Current Long service leave 1,312,560 1,171,308 Annual leave 457,018 485,059 1,769,578 1,656,367 PROVISIONS – Non-current Long service leave 206,291 323,694

15 COMPANY LIMITED BY GUARANTEE

Capital capable of being called-up in the event of and for the purpose of winding-up 24,500 24,500


20



16 OPERATING LEASE COMMITMENTS Lease commitments: Consolidated Entity as lease Non-cancellable operating leases The Group leases a warehouse in Kensington which is under a non-cancellable operating lease expiring October 2012. A new non-cancellable operating lease was signed for a warehouse in Ballarat which expires on 31 January 2013. Commitments for minimum lease payments in relation to non-cancellable Operating leases contracted for at the reporting date but not recognised as Liabilities payable: Within one year 385,303 320,000 Later than one year but not later than 5 years 329,983 640,000 715,286 960,000 Cancellable Operating leases The Consolidated Entity leases office space in Sydney. The Sydney lease term has expired and the lease is currently on a month to month basis. The owner of the property is the NSW Government. Commitments for minimum lease payment in relation to cancellable operating Leases contracted for at the reporting date but not recognised as liabilities, Payable: Within one year 62,622 110,000 62,622 110,000

17 RELATED PARTIES DISCLOSURE (a) Directors of The Australian Ballet in office at any time during or since the end of the year:

Christopher P Knoblanche (appointed 4 April 2001) Robert O Albert (appointed 1 January 1988) Toni Cody (appointed 15 March 1999, retired 26 May 2010) Marilyn P (Rowe) Cowden (elected 26 May 1994, leave of absence 2008-2010,

resigned 26 May 2010) James G Cousins (appointed 25 June 2009) Li Cunxin (elected 25 June 2005, resigned 14 July 2010) Felicity J Gunner (appointed 18 February 2000, retired 26 February 2010) Sarah A Murdoch (appointed 17 February 2007) Steven M Skala (appointed 2 March 2000, retired 26 February 2010) Julie M Somers (da Costa) (appointed 13 February 2002) Peter J Smedley (appointed 28 April 2004, elected 28 May 2004) Craig G Spencer (appointed 25 June 2009) John Borghetti (appointed 26 February 2010) John Ellice-Flint (appointed 26 February 2010) Siobhan McKenna (appointed 14 July 2010) Christopher Goldsworthy (elected 14 July 2010) The Directors positions are on an honorary basis. There is no remuneration of Directors.


21



17 RELATED PARTIES DISCLOSURE - continued (b) Related Party Transactions: Parent Entity The Australian Ballet occupies office premises on level 4 and 5 of The Primrose Potter Australian Ballet Centre owned by Australian Ballet Centre Pty Ltd in its capacity as trustee of The Australian Ballet Development Fund. During the year, the Australian Ballet incurred rental costs of $1,149,351 (2009: $1,149,351) and parking costs of $42,969 (2009:$44,218) excluding GST on its occupancy payable to The Australian Ballet Development Fund.

18 BOARD APPOINTED MANAGEMENT REMUNERATION Key management personnel comprise board appointed personnel and other persons having the responsibilities for planning, directing and controlling the major activities of The Australian Ballet Group. Key management personnel remuneration 592,914 532,580

19 SEGMENT INFORMATION The consolidated entity operates predominately in the performing arts industry, specially the production and staging of ballet as the national company in Australia.

20 ECONOMIC ENTITY

Parent Entity: The Australian Ballet Controlled Entities: The Australian Ballet Centre Pty Ltd The Australian Ballet Development Fund The Australian College of Dance Building Fund (i) All entities were incorporated or formed in Australia and are

wholly owned. Corporate Information The Australian Ballet is a public company limited by guarantee and

incorporated in Australia. Registered Office The Australian Ballet Centre 2 Kavanagh Street Southbank Victoria 3006

21 CONTINGENT LIABILITIES There were no Contingent Liabilities as at 31 December 2010.

22 CONTINGENT ASSETS On 6 March 2010, buildings and property owned by The Australian Ballet suffered significant damage during a hail storm. The insurance claim was settled after 31 December 2010 with the final instalment received 4 February 2011.

23 THE AUSTRALIAN BALLET FOUNDATION EXPENSES

During 2010 the Philanthropy Department was restructured and headcount increased to better meet today’s operating environment for fundraising. The Department now comprises staff separately responsible for Annual Giving and Foundation Fundraising with expenses being apportioned accordingly.

On 27 July 2010 the Australian Ballet Foundation Fund transferred $238,925 held in trust from the Margaret Oxford Fund to the Australian Ballet School who were the beneficiaries of income derived from this Fund.


22



24 PARENT ENTITY FINANCIAL INFORMATION Summary financial information The individual financial statements for the parent entity show the following aggregate amounts:

Balance Sheet Current Assets 11,397,011 4,797,700 Total Assets 12,230,988 5,245,597 Current Liabilities 14,127,380 14,950,593 Total Liabilities 14,328,322 15,258,583 Shareholders’ equity Reserves General reserves 46,000 42,000 Retained (deficit)/surplus (2,143,337) (10,054,986)

(2,097,337) (10,012,986) Surplus/(deficit) for the year 61,651 220,131 Total Comprehensive Income 61,651 220,131

25 EQUITY

Retained Surplus/Deficit Foundation Income Reserve 2,004,425 1,824,096 Foundation Share Revaluation Reserve 3,128,782 3,354,300 Retained Surplus - The Primrose Potter Australian Ballet Centre 10,903,601 16,145,506 Retained Surplus/(Deficit) – The Australian Ballet (2,143,336) (10,054,988)

13,893,472 11,268,914 General Reserves Asset Revaluation Reserve 46,000 42,000 Production Reserves 200,000 200,000

246,000 242,000

Foundation Capital Reserves Endowment 5,351,014 4,226,792 Reserve 8,138,007 6,840,752

13,489,021 11,067,544

26 RECONCILIATION OF CASH AND CASH EQUIVALENTS AT YEAR END For the purpose of the Consolidated Statement of Cash Flows, cash includes cash on hand and in banks, net of outstanding bank overdraft. Cash at the end of the year as shown in the Consolidated Statement of Cash Flows is reconciled to the related items in the Consolidated Balance Sheets.

Cash and cash equivalents on hand at year end 20,823,913 15,554,286

27 MATTERS SUBSEQUENT TO THE END OF THE FINANCIAL YEAR On 6 March 2010 property owned and leased by The Australian Ballet suffered significant damage during the hail storm. Assessment of damage to costumes and sets and props located at the leased Kensington store took many months and the final settlement of the claim was only received in February 2011. Except for the matter disclosed above, no other matter or circumstance has arisen since 31 December 2010 that has significantly affected, or may significantly affect:

(a) the group's operations in future financial years; or (b) the results of those operations in future financial years; or (c) the group's state of affairs in future financial years.


23

Directors’ Declaration

In the directors’ opinion:

a) the financial statements and notes set out on pages 8 to 22 are in accordance with the Corporations Act 2001, including:

(i) complying with Accounting Standards, the Corporations Regulations 2001 and other mandatory professional reporting requirements, and

(ii) giving a true and fair view of the consolidated entity’s financial position as at 31 December 2011 and of its performance for the financial year ended on that date, and

b) there are reasonable grounds to believe that the company will be able to pay its debts as and when they become due and payable.

This declaration is made in accordance with a resolution of the directors.

CP Knoblanche Chairman Melbourne 23 March 2011

PJ Smedley Director Melbourne 23 March 2011

DIRECToRS’ DEClARATIoN

38 52



24


Freshwater Place2 Southbank BoulevardSOUTHBANK VIC 3006GPO Box 1331MELBOURNE VIC 3001DX 77 MelbourneAustraliaTelephone 61 3 8603 1000Facsimile 61 3 8603 1999pwc.com.au

Independent auditor’s report to the members ofThe Australian Ballet

Report on the financial report

We have audited the accompanying financial report of The Australian Ballet (the company), whichcomprises the balance sheet as at 31 December 2010, and the statement of comprehensiveincome, statement of changes in equity and statement of cash flows for the year ended on thatdate, a summary of significant accounting policies, other explanatory notes and the directors’declaration for The Australian Ballet group (the consolidated entity). The consolidated entitycomprises the company and the entities it controlled at the year's end or from time to time duringthe financial year.

Directors’ responsibility for the financial report

The directors of the company are responsible for the preparation of the financial report that gives atrue and fair view in accordance with Australian Accounting Standards - Reduced DisclosureRequirements and the Corporations Act 2001 and for such internal control as the directorsdetermine is necessary to enable the preparation of the financial report that is free from materialmisstatement, whether due to fraud or error.

Auditor’s responsibility

Our responsibility is to express an opinion on the financial report based on our audit. We conductedour audit in accordance with Australian Auditing Standards. These Auditing Standards require thatwe comply with relevant ethical requirements relating to audit engagements and plan and performthe audit to obtain reasonable assurance whether the financial report is free from materialmisstatement.

An audit involves performing procedures to obtain audit evidence about the amounts anddisclosures in the financial report. The procedures selected depend on the auditor’s judgement,including the assessment of the risks of material misstatement of the financial report, whether dueto fraud or error. In making those risk assessments, the auditor considers internal control relevantto the entity’s preparation and fair presentation of the financial report in order to design auditprocedures that are appropriate in the circumstances, but not for the purpose of expressing anopinion on the effectiveness of the entity’s internal control. An audit also includes evaluating theappropriateness of accounting policies used and the reasonableness of accounting estimatesmade by the directors, as well as evaluating the overall presentation of the financial report.

Our procedures include reading the other information in the Annual Report to determine whether itcontains any material inconsistencies with the financial report.

We believe that the audit evidence we have obtained is sufficient and appropriate to provide abasis for our audit opinion.

Independent auditor’s report to the members ofThe Australian Ballet (continued)

25

Independence

In conducting our audit, we have complied with the independence requirements of the CorporationsAct 2001.

Auditor’s opinion

In our opinion the financial report of The Australian Ballet is in accordance with the CorporationsAct 2001, including:

(a) giving a true and fair view of the consolidated entity’s financial position as at 31 December2010 and of its performance for the year ended on that date; and

(b) complying with Australian Accounting Standards – Reduced Disclosure Requirements andthe Corporations Regulations 2001.

PricewaterhouseCoopers

John Yeoman MelbournePartner 23 March 2011


Daniel Gaudiello and Lana Jones Photography James Braund

ENDoWMENT Funds within The EndowmentThe Australian Ballet Endowment encompasses capital funds created by individuals, large donations and bequests. The income earned is used for the benefit of the Ballet.

MAJoR GIFT & MATChING GRANT The Ian Potter FoundationThe Ian Potter Foundation has made a grant of $4 million over five years for the maintenance, upgrading and refurbishment of The Primrose Potter Australian Ballet Centre and towards furthering the company’s education programs, followed by a matching grant of up to $4 million that matches other grants and donations made to The Australian Ballet on a dollar-for-dollar basis.

The International Fund Capital Contributions Ms Laurie CowledFrances GerardDale & Ian JohnsonMrs Sarah MurdochMrs R H O’ConnorDr Valmai Pidgeon AMMr Kenneth R ReedTalbot Family FoundationAnonymous (1)We are also grateful to those other individuals who made donations of $20,000 or less.It was the Opening Night of Swan Lake in London in 2005 that inspired Frances Gerard to establish this important Fund.

Endowment Funds The Robert & Elizabeth Albert Music FundThe Richard & Barbara Allert FundThe K Christensen & AE Bond BequestThe Walter Bourke PrizeThe George Garratt FundThe Maina Gielgud FundWilliam Arthur Hugh Gordon FundThe Kathleen Gorham Fund established in her memoryThe Neil Hopkins FundThe Freda Irving Memorial Scholarship FundBarry Kay Memorial Scholarship Fund

John Lanchbery FundThe Ian McRae AO FundThe Susan Morgan FundThe Frank & Thora Pearce FundThe Colin Peasley OAM Fund for EducationThe Noël Pelly AM FundThe Margaret Ellen Pidgeon Fund for Classical Ballet endowed by Dr Valmai Pidgeon AMThe James & Diana Ramsay (The Australian Ballet) FundThe Kenneth R Reed FundKevin Regan Fund endowed by Max JohnstonThe James Slater Memorial FundThe Marigold Southey FundThe Robert Southey Fund for Australian Choreography, endowed by The Sidney Myer FundRoss Stretton Fund endowed by Bee FletcherThe Maurice Sullivan Memorial Scholarship FundDame Peggy van Praagh Fund for ChoreographyMargaret Elizabeth Oxford Fund The Christine Marie Johnson Maple-Brown ScholarshipThe Dorothy Hicks Fund

Contributions to the General FundDavid Crawford AO & Maureen CrawfordIan & Norma DrewHenry & Miriam GreenfieldMr Fred Millar AO CBE & Beth MillarPerini Family FoundationQueensland Friends of The Australian BalletThe Robert Salzer FoundationDick & Pip SmithPeter & Frieda ThornhillAnonymous (1)

Estates The Australian Ballet acknowledges with great appreciation the bequests which it has received from the Estates of the following benefactors. These bequests have been invaluable in the achievement of the company’s objectives.Mr Reginald Edward Gregory MBE & Mrs GregoryPatricia Marie SmitPatricia Hope WillisColin Robert MarshallHazel GrahamEthel Margaret Ewing CuttenRobert J ShipsidesE M Black

Paul SinclairMrs M M C DjordjevicDr George GarrattRobert Salzer AOBetty Gleeson-WhiteClifford BurgessKeith M ChristensenWilliam Arthur Hugh GordonFreda Eileen SpicerAsle Noel ChiltonGwendolyn Letitia TennantSir Robert Southey AO CMGBrenda June McGowanMr Will NobleNorma Lucas PayneMrs Ila Leland Massy BurnsideGay John Therese ClarkeGwendoline I TregearLesley Morgan SperryGwen HuntMrs Patricia McSpeerinMr Noël Pelly AMLady Snedden AMWilliam F WellsMrs Thora PearceMiss Ann WilliamsMr Ian Berkeley SmallNola Joan HassallJean HammondMr A S LeslieMr Laurie DaviesEsther Primrose Lucy Gertrude PoelmanDame Joyce Margaretta DawsLady Nancy Fairfax AM OBEErnest SpinnerMargery I PierceBarbara Bishop HewittMrs Sylvia BoxDr Donald WrightMrs Sally SinisoffBetty June DrabschMarianne MartinMr Norman DrogemullerJean M NegusDr Dawn Meryl ThewJudith Gwen NewberryDuncan Elphinstone McBryde LearyMiss Ruth Margaret DavidsonDr Alf HowardJane D CrawfordAnonymous (2)

The leadership Circle Securing the future through a bequest If you would like further information on the Bequest programme, please ring Donna Brearley (03) 9669 2782.Mr L Kevin AdairMrs Sheila AdamsRichard Allert AM FCA & Barbara AllertBetty Amsden OAMMrs Patricia AndersMs Greta ArchboldMs Jennifer BarnesPhilip & Laurel BendreyMrs Anne BoyleAnn & Derek Braham

Donna BrearleyPatricia A BreslinMrs R D Bridges OBEMrs Margaret BroeksJannie BrownMs Deborah BuckettWendy BurginDr Sheena L BurnellTrish ByrnePam CaldwellMr John Calvert-Jones AM & Mrs Janet Calvert-Jones AODr Brian T CareyRobert E A CarliRowena CatchatoorRon & Luci ChambersMr Bryan ChidgeyMiss Beverley F ClarkCaroline Cooper MVOMr Jim Cousins AO & Mrs Libby CousinsJudith CowdenMiss Katrina CowenThe Late Mrs Melba A CromackMrs Maree D’AlterioMr Leonard DarkMerawyn DaviesDavid de Verelle-HillMiss Patricia DownesGeorge DrewMrs Lorraine DrogemullerMrs Jill DuckMr & Mrs D C DunstanJo EdwardsMrs Joan Daphne EvansRichard EvansRoss FairhurstThe Late Jim FinchPeter F FlemingRita FletcherBarrie I Follows AM JP & Margaret Gail FollowsMr George FosterMrs Geraldine Fox-PenglisAnthea GilbertSuzanne GleesonThe Late Mrs Krystyna Gogolak & Mr Stephen GogolakMs Margo GrahamLyn GriggMrs Lilian HardyMr Robert B HaynesHilary A HazledineChristopher Hector & Ros NeaveMs Claire HoustonDr & Mrs Ken HoyleLilla ItoMichael & Jennifer JamesMax JohnstonMrs Mary JonesMarlene KavanaghMarion J KellyMrs Valda KlaricLisa KokegeiSimon LambourneFrancine LancasterMavis LanceMrs Carlean LangbeinPeter Langford AMGeraldine Lawton BequestThe Late Muriel LeadbeaterMrs Judy LeeDaniel-Francois Lemesle

Kate LewisDr C S LoaderMrs Patricia LoughheadPamela & David LuhrsChris MackayGeoff & Margaret MarkhamL MarroneThe Late Mr Harold Marshall AMPatsy MartinMr Edward J MasonGraham MathesonDavid McAllister AMD J McGregorCanon Albert McPhersonToni MeathPrudence MenziesMs A MichellMargaret MiddletonMrs Susan MorganMary MurphyMrs Margaret MurraySimon NettletonMiss Judith NewberryDr Kersti NogesteMr Arthur L Norcott Mrs Roma NorcottKathleen O’HaraDi Palmer & Stephen Rodgers-WilsonMrs Meredith PetersLady PorterMrs Diana Ramsay AOPenelope S RawlinsTrevor RiceRhonda & Peter RogaRichard RossCaroline J Ross-SmithRos RussellMrs Margaret SaultMiss Sheila Scotter AM MBEMargot SeeleyMr & Mrs Charles SheldonSara J SimpsonElvira SinicinsMr Tiger SmithLady Southey ACJacques Spira OAM & Edith SpiraNorman StevensMs Juanita StockwellMiss Pat SutherlandDeb SuttonElizabeth SwantonSusanne SweetlandMs Susan TaylorDr Christine ThevathasanDr Diana TolhurstMichele & Mario TopcicDr Sally TownsendMiss Ruth TraitPatricia TylerJohn & Susan VanderstockPatricia Speher VanderwalMs Jill VaughanPeter VaughanDr Richard VeseyKenneth W WatkinsPamela WhalanMargaret Amery WhiteBarry & Megan WillcoxMr Antony Williams

Jan WilliamsLeonard J WilsonMs Sallyann WilsonJosie Woodgate OAMVictor & Christine ZemancheffMrs Ruth ZionzeeAnonymous (57)

General Support The Australian Ballet Society Inc President Josie Woodgate OAMFriends of The Australian Ballet (NSW) Chairman Greg KhouryFriends of The Australian Ballet (SA) Inc President Catherine Ellice-FlintThe Australian Ballet School Director Marilyn Rowe OBEAustralian Opera and Ballet Orchestra through Opera Australia Orchestra VictoriaSydney Opera House TrustQueensland Performing Arts Centre

ANNUAl GIVING President lady Potter ACThe Australian Ballet is proud to acknowledge the generous support and encouragement it receives through Annual Giving. The individuals listed have contributed as at 31 December 2010. Continued support from individuals and corporations is essential.

les Etoiles Supporting the principal artistsMrs Mary BarlowBill BownessMs Robin CampbellMrs Sue ChisholmMs Val HardingLynnette HarveyMr Arthur L Norcott Mrs Roma NorcottMrs Helen O’NeilMrs Kerry Packer AODr Valmai Pidgeon AMLady Potter ACMrs Robert Rose AMMrs Christine Smedley

Principal patrons Gifts over $20,000Mr Robert Albert AO & Mrs AlbertMr Peter Clemenger AM & Mrs Joan Clemenger

Senior artist patrons Gifts $15,000 – $19,999Betty Amsden OAMBeverley Harvey & The Late Richard HarveyMrs Janis Salisbury

Soloist Patrons Gifts $10,000 – $14,999Brian Abel & The Late Ben Gannon AOMrs Roseanne AmarantMr John Calvert-Jones AM & Mrs Janet Calvert-Jones AOMrs Gordon Douglass AMMrs Barbara DuhigMrs Penny EdwardsJohn & Catherine Ellice-FlintMrs Diana Gibson AOMrs Norma LeslieJoan LyonsMr Robert Maple-Brown AO & Mrs Susan Maple-BrownMrs Tonya McCuskerMrs D H McLaurinDame Elisabeth Murdoch AC DBEMr & Mrs B G O’ConorMrs Sue PeriniMr Kenneth R ReedLady Southey ACRenaissance ToursIn memory of Sarah Jane Vyden by Dr John K VydenE XipellAnonymous (1)

Coryphée patrons Gifts $5,000 – $9,999Antoinette AlbertMrs Ruth ArmytageArda & John BarryAngie CarterJoyce Clothier OAMBar & Tim CohenMr Jim Cousins AO & Mrs Libby CousinsMs Laurie CowledMrs Shirley DanglowMrs Suzanne Davidson OAMMr Adam C ElderIn memory of Winefred FaithfullMr & Mrs Chris FullertonMr John R FullertonDr Nicholas Girdis CBE & Mrs Marina GirdisClaire HandlerLouise HamshereDr Judith KinnearMr & Mrs Aron KleinlehrerCaroline LawsMr Steven Lowy AM & Mrs Judy LowyMiss Fay MahoneyGraham MathesonDavid McAllister AMSusan MorganMr Henry Nowik AO OBEDiana & Graeme PhillipsLady PorterProf Ruth RentschlerYvonne ReuvekampMargaret S Ross AMLyne SedgmanMrs Joyce Sproat & Mrs CookeMrs Anne SymonsDr Christine ThevathasanJill Thorpe

financial support 2010


Mr & Mrs Leigh VirtueRay Wilson OAM & The Late James Agapitos OAMDr Michael J WrightAnonymous (6)

Corps de ballet patrons Gifts $3,000 – $4,999Jannie BrownMr & Mrs Michel-Henri CarriolCharles G ClarkAnnette CookMrs Neilma GantnerMr Chris GillmanMs Patricia Grattan-FrenchAlan & Marion GrundyPat HowellMr Ross LiebmannMalcolm & Sandy McLachlanDave Poddar & Angela FlanneryNorman F PollackValerie TaylorDonna WoodhillAnonymous (2)

Gifts $1,000 - $2,999 Mrs Jane AllenMiss Catherine AlstonIn memory of Ian & Ila AndersonRichard & Therese ArmstrongMr Lee BarrRosemary & John BarrPeter & Jennifer BartterMs Barbara BedwellPhilip & Laurel BendreyMiss Catherine BoagMr Leonard BosmanMaxine BownessMrs Susan BrennanMrs R D Bridges OBEMs Rita BrownMarilyn BurtonMrs Nancy ButlerPam CaldwellMs Joyce CampbellMrs Ronda ChisholmDr Anne ColmanDr Margaret CookBarry CowdellMr Tim K Cox AO & Mrs Bryony CoxMrs Joanne CrothersMrs Tracey CunninghamMr Charles P Curran ACMrs Kate DammMrs Joan DarlingDickerson Gallery Sydney/MelbourneJean-Yves DidierMr John Downer AM & Mrs DownerPatricia DuffyOlive DunkEdrina Dunstan Dunstan Family FoundationMiss S Y EvansMr & Mrs Ron B FarrowMr William J Forrest AMMr George FosterEric & Tonia Gale

Mrs Kylie GankoDiana GazeChristine GeorgeMs Diana GerstmanMr & Mrs Adrian GibsonNeil Gill & Lee ChristofisMs Judy GillardWilliam GloverMrs Anne GluyasDr Kirsten Gormly & Mr Kristian DowningLyn GriggFelicity Gunner OAMMaria HallLouis Hamon OAMMs Carmel HarrisIan & Enid HaskinsDr & Mrs Darryl J HodgkinsonAlan HolgateMrs Robyn HopkinsMrs Caroline HowardDr & Mrs Greg HoyMrs Christine HughesGillian HundDr Alastair JacksonMr & Mrs Philip JacobsonDale & Ian JohnsonMr Maxwell JohnstonMr Paul A JonesLady Kater AMMr & Mrs Ervin KatzMiss Dawn V KellyMrs Jenny KudelkaMrs Nathalie KulakowskiPeter Langford AMMargaret LedermanRosalind LilleySusie LobbMr & Mrs Rob Logie-SmithAnthony & Suzanne Maple-BrownAlexandra Martin AM in memory of Lloyd Martin AMMarie McCann OAMMrs Cherry McCardelMr Robert W McCormackMs Sandra McCullaghMrs Ann McFarlingMr Michael McKenzie & Mr Neil JonesThe Late Mrs Barbara McNulty OBEJohn & Rae McKimDrs Pam & Andrew McQueenMs Toni E MeekMr & Mrs Harry MelkonianMr Alex MichalakJohn M MichelmoreMargaret MiddletonDesmond B Misso EsqBeatrice MoignardMrs Veronica MooneyMrs Marie MortonMr Barry MurphyMr D M MurrayDr Merrilyn Murnane AMIrena NebenzahlMr Simon NettletonMrs Jan NorthamRussell J NowellMrs Rachel H O’ConorThe Hon Mr Justice B O’Keefe AM & Mrs Janette O’Keefe

Mrs Diana-Rose OrrMs Amanda PaliourasMrs Faye ParkerMrs Yvonne R PennyGeoffrey & Jan PhillipsPaul M PinelRobin PotterKerryn PratchettLynn Rainbow ReidJudy Roach for Estate Ian RoachMs Judy RogersMichael & Veronica RouxRos RussellMrs Deri SaundersMax & Jill SchultzDonna Scott-YoungMs Polly ShawDr Adam T SheridanTim & Lynne SherwoodNev SimpsonMrs KM SkinnerMr Steven Skala AO & Mrs Lousje SkalaMr & Mrs B N SmithMr Sam Smorgon AO & Mrs Minnie SmorgonMr Ezekiel Solomon AMMr David SouthwickJacques Spira OAM & Edith SpiraMrs Josephine StruttMildred TeitlerMr & Mrs Peter ThornhillRuth TraitMrs Samantha TravesAnn TregearMr Neil Truscott AM & Mrs Claire TruscottDaphne TurnbullRosslyn J TurnerMr & Mrs F G UptonMrs Robyn VealMrs K D VercoDr Richard VeseyMr & Mrs Isaac WakilJohn & Judith WalkerMrs Jackie WallaceS & J WallisMs Rosemary WallsSusan WarburtonMrs Elizabeth WareingMrs Suzanne A WaterhouseMr Kenneth W WatkinsDanny & Barbara WatsonPat & John WebbMrs M W WellsAngela WestacottPamela WhalanMrs Anne WhartonMrs Marjorie WhiteMrs S WhiteDrs E & H WickiMr & Mrs M WillcoxsonJudith WilliamsKay WilliamsonMr Robert WinnelMs Josie Woodgate OAMHelen WoodsIain & Judy WyattRuth ZionzeeAnonymous (29)

Support from Private FoundationsANZ Trustees Foundation – The Sandy Michell LegacyJames & Diana Ramsay FoundationKhitercs Hirai FoundationThe Cory Charitable FoundationThe Flew FoundationThe Greatorex Foundation Pty LtdThe Ken & Asle Chilton Charitable TrustThe Ross Trust

out There – The Australian Ballet in Schools James N Kirby FoundationLord Mayor’s Charitable FoundationNewman’s Own FoundationPerpetual Trustees Talbot Family FoundationThe Angior Family FoundationThe Ian Potter Foundation The Profield FoundationThyne Reid FoundationWilliam Angliss (Vic) Charitable Fund

Philanthropy support Renaissance Tours – Preferred Philanthropy tour operatorDendy Films & KinoHopscotch

Supporters $100 - $999 Mr A AbbeyDr & Mrs J D AberdeenMrs P AckeryMrs Sheila AdamsMr William A Adams OAMCathy AirdMrs Elizabeth AitkenMrs M AldersonDon & Veronica AldridgeAnnelise AllanLt Cmdr & Mrs Bert AllanMs M AllsoppMr E AnderlDr Katherene AndersonRosemary AndersonP J AnderssenAlan & Muriel AndrewsMrs Robin AndrewsMr Michael N AramBev ArnoldGregory AshtonBishop J AshtonMrs Pauline AtkinsonMrs Wilma AttwoodMiss Lisaanne AyresLady Edith Badger OAMMs Mette BaggerMrs Wanda BainbriggeDr Lorraine BakerMrs Rosalind BakerDonald BaldryMrs Patricia A BarkerDr Rosemary BarnardMs Jennifer BarnesMrs Dallas BarnettMr Ian Barnett

Tony BarnettMrs Isobel BaxterMrs Jillian BeareMs Barbara BeasleyCarole BeaumontMrs Barbara BeckingsaleMs Tamara BeeverMrs Allison BenfieldDr Rebecca BertrandMr & Mrs Don BestDr A BinnieBarbara BirdDavid P BlackMr & Mrs Michael E BlackMrs Virginia BlackhamMiss G BlackstockMrs Roma BlairHermina BlaxlandDr & Mrs Laurence F BlowsMr Graeme BoothMrs Paula BosmanMiss Gwenda BoswellMrs Pixie BoughtonMrs Rose BoydMrs Kym BraccoAlix BradfieldMr David BradleyMs Nichole BradshawDr & Mrs Derek BrahamMrs Caroline BrainMiss Patricia BreslinMs Margaret BresnahanMargaret BroeksValarie BronnerMrs Jill BrookMrs Jan BrooksMrs Errol BroomeMs Christine A BrownMargaret & Michele BrownMrs Beverley Brown OAM & Dr Roger BrownDr Thomas C BrownWendy F BrownMrs Debbie BrowneMrs Jane BrummittMrs Christine BruningR Bruton-SimmondsMrs E BryantProf & Mrs Neil BuchananD T BuckettMs Julie Edgar & Mr Iain BucklandMrs Geraldine BullMs Jennifer BurgessDr Ian BurkMr Francis M BurkeAnne ButlerMs Ita Buttrose AO OBEMrs Kerrie CaiMrs Nancye E CainDavid & Judith CalmyreMrs Judith CampbellMrs Margaret CampbellRosemary Campbell OAMMrs Yvonne CampbellMrs Sophie Caplan AMMiss Gillian CappellettoPamela CarderMrs E CasamentoMrs Penelope CearnsMrs Sue CecilDr G David & Mrs Caroline ChampionMiss Fanny ChandraAlba & Lauren Charlson

Mr Arthur CharlwoodMr Matthew ChesterMs A ChlebnikowskiMs Catherine ClarkeHeather ClarkeMs Julie ClarkeMrs Lorna ClarksonMiss Elizabeth J CleggMs Elizabeth CliffordMrs Mavis CliffordStephen & Patricia CliftonMr Michael Cohen OAM & Mrs Mary CohenMrs Helen ColemanPeter CollinsMrs Robyn CollinsMs Tricia ConfoyJudy ConnorPhilip & Mary ConstableMrs Sandra ConstantineMrs Marguerite CookMrs A CookesAlison CoomberMrs Kaye CooperMrs Patricia CopesMr Gordon CossMrs Elizabeth CousinsMrs Joan CowieMrs D CoxOlive CoxKay CranwellMeredith CreightmoreMs Sonia CrossleyMrs S CrossleyMrs Marilyn CulpittMrs B CumminsMs Rohma CumminsRon & Gwen CundyMr John CuninghamRosie CunninghamTerry & Roslyn CunninghamMrs Betty CurtisMrs Margaret Dalheim-RoutleyMrs Sandra DamevskiMiss Ann DarbyProf M Darveniza AOLeon D’AulnaisMrs Claire DavidMrs Joan DavidsonMs Valerie DavieMr Gordon DaviesMs Karen E DaviesMrs Merawyn DaviesErnest DawesMrs Joanne de CorsieMs Charlotte de Courcey-BayleyMs Catherine de MicheliMr Peter de RauchMrs Gloria P DeanMiss Julie DeaneRafe & Christa de CrespignyMrs Eril DeightonG & P DereticJudy DevaiWendy DiamondGreg DicksonLaurence DillonMs Jill DobbieMr Shane A DohertyAllan W DonaldDesley Donaldson Ballet Academy

Elizabeth DonatiMs Margaret DooleyLanii DouglasMrs D DowlingMs Elena DownDr Peter DowntonMrs Gillian DoyleMrs Jane DoyleIan & Norma DrewDr Michael DrewLorraine DrogemullerMrs Jill DuckMrs Lina DuckworthMr Damian DuffyMrs M DugganMs Catherine M DuncanMs Christine DunlopMs Susan DunstonMr Vincent DuongMr & Mrs John A EdgarMrs Camille J EdwardsMrs Lois EdwardsAngela EganMs Angela EmbletonAva EmdinMs Lyn EnglandMrs Michelle EsplinMs Karin M Eurell & Mr Derek S MatzMr John FarrowDr & Mrs I FeldmanMrs Elisabeth FidlerDr Jennifer Fiore-ChapmanMiss Josephine FisherMr Ronald FisherMr John FitzpatrickMr Peter FlemingMrs Kate FletcherMiss Angela FlockhartMr Philip J FollentMrs Lyn FosterMs Lyn D FosterMr Brian FranceMr R FrancioneMrs L FrancisMs Lindy FrancisMr & Mrs Michael FrancisDr C FraterMrs Lois FraterDr Marion Freedman-LobelIn Loving Memory of Dr Kevin FullerMrs Shar C FungMs Joanne GallpenCharles & Patricia GalluccioMr Brian GalwayMrs Angela GanMrs Sandra GarrawayMrs Wendy GelhardDr Peter GeorgeL GerrishMs Belinda GibsonJoan & Alan GilesDr B GilliganDJ & RA GilmourJoan GloverMrs Susan GodberMr Brian GoddardMrs Helen GoddardMr Gerald GoldbergMr Charles GoodeJulie GooldMrs Joanne GoreMr Stanley D Goricane

Ms Lianne GrafMs Margo GrahamJennifer GrantCatherine GreenMr Geoffrey M GreenbaumMrs Elaine GreenhallMiss Pauline GriffinHis Honour Peter Grogan & Mrs Valerie Grogan AMMrs Nina GronowMiss Ida GuggerMs Sian GunsonMrs Rosamunde W GuthlebenKate GuyMs Anne HackettMrs Alison HaleMrs Joan M HallMargaret HallMs Ruth HallettJennifer HallidayArthur & Helen HamersfeldMrs Dorothy HamiltonMrs Kathleen HamiltonMr David HardidgeMargaret HargravesMrs Roush HargravesMr Glen HarringtonMrs Glenys HarrisLoene HarrisMs R HarrisMr L HarrisonS J HarrisonRose HarryMrs Helen HartDr Keith HartmanMrs B HaverfieldMs Margaret HawkeMs Elizabeth HawkerMrs Jill HawkerMiss Carol HayMrs Glenda HaywoodGloria HealeyJean HealeyRobina HealeyMs Meredith HellicarAaron & Yetta HendlerDr Peter Hendry AOMs Sharon HerbertMs Linda HerdBrian HewittJ HewittMrs Narelle HillsMr W HinchcliffeMs Elizabeth HinchonMrs Elizabeth HirstDi C HobartMs Jane HodderMrs Jennifer HodgesLouise HoffmannMargaret HoganMrs Mary Hogan OAMMr Peter HolbeachPatricia and Brian HoldsworthDr Milan HolecekMrs Naida HollidayHelen HollingsheadMs Leonie HollingsworthMr Leslie HolmesMrs May HoneybourneMs Patricia HoodMrs Margaret HookeyMs Collette A Hooper

Jo Ann HopkinsMrs Robyn P HornMs Hazel HossRev & Mrs William Huff-JohnstonElspeth HumphriesThe Hon David Hunt AO QCMrs Miriam HuntMiss P HuntMrs Helen HunwickMrs Roslyn HunyorIn Memory of Lorna HurfordMs Diana HurfordMrs Robin HutchersonMrs Belinda HutchinsonMs Lisa IronsideDr Irene IrvineMrs D JacksonJennifer JarrettMrs Diana JeanesMiss Janice JefferyCarla & Ian JeffreyMrs Margaret JenningsSusan Jennison OAMMrs Helen JohnsonMichelle JohnsonMs Teresa JohnsonDeirdre JohnstonJames JohnstonMrs M JohnstonJennette & Alan JohnstoneAnne JonesBarbara JonesMrs Gloria JonesMrs Mary JonesAnnie JonesSteven & Paula JonesMrs V KahlbetzerMs P KayeMrs Valma KeenMrs Rhonda & Miss Emily KeeneMr Martin KeithMrs Suzanne KellyDr Judith KennedyTherese KennedyMr Paul KennyMr Paul KeoghMrs B KesbyMs Margaret Kiley-BalasMr & Mrs David KingsMs Annamarie KinnonJohn & Neville KinseyJoan KitchinMs Maryla J Kizny & Ms June WilkesDr H KokMrs Susan KoppelmanMrs L KosuticMs Melanie G KrepcikChristina LaidlawDr Mae LangfordPeacock Hill VineyardDr Joan M Lawrence AMDr M J LawrenceMrs Anne-Marie LawsonMr & Mrs Phillip LazarusMrs Ruth LazarusMrs Rosemary C LeaverMrs Sylvia LeeMrs Sharon LeichDino LeoneMs Roslyn LePageJohn Leslie OBEMrs June Letton

Dr & Mrs Peter LewinMs Maureen LiddyMrs Barbara LinleyMrs Ruth LittleMrs Phyllis LloydSydney & Airdrie LloydElizabeth H LoftusMrs Ardelle LohanMs Emma L LongmoreMrs Margaret LordMargaret LuggMrs Pamela LuhrsMrs Iris LukeEmmy LychoJed MacartneyMr A B MacIntoshMr & Mrs Alex MacIntoshC MackayMrs Gwen MacLennanMr Brian MaddisonMrs S MaguireMargaret MallinsonHelen & Morris MargolisGeoff & Margaret MarkhamMrs Ruth MarksMr & Mrs R A MarrettDr Marjory-Dore MartinPatricia MartinRosemary MartinMrs Margaret MashfordJoan MaslenMrs Margaret MasonMiss Rebecca MasonMrs Patricia MassonMrs Vera MayMrs Barbara MayesJohn & Anni McArthurMr & Mrs Mark McCarthyHon Justice Ruth S McColl AO SCMrs Wilma McCrannMr D McDonaldMrs W McDonaldMrs Susan McEwinMiss Phyllis McGeeMrs Janine McGeechanMrs Jean McGowanMiss P M McGreadyMr D J McGregorMichael & Louise McGuireMiss Angela McHughMs Alison McIntyreH E McKenzieMrs L McLarenMiss Jennifer A McLeanMrs Catherine McOmishMrs Pamela McTaggartHon Tom McVeigh & Mrs Sandra McVeighMrs Norma MeadMrs Judith MeckiffMrs Jane MedwayA S MellickMr RW & Mrs JE MenzMrs Angela MercerElizabeth MeredithMiss Olive MeredithMs Helena MestrovicJan Metcalf GeorgeMrs E MillerMs Karen MillgateDr Ross MillikanMs Karen MillsMilman Goode

Mrs Susan MitchelhillFelicity MitchellMs Kirsten L MolenkampVelda MooreJohn MoreyMrs Angela MorganMr & Mrs Peter R MorganRon & Desley MulockTony MunroMr Donald J Munro AM & Mrs Jacquelyn MunroMr & Mrs Ken MunroWendy MonroJennifer MurrayMr Alfred MyersMs Joyce NapierMs Mary A NapperMr Colin NeaveMarie NedelkovaMr G NewmanMs J NiallMr Malcolm NicklinMrs R NicolDr Kersti NogesteCarmel NolanMr Michael F NolanSir Gustav & Lady NossalNosworthy FamilyMrs Robyn NunnMr Robert OakmanKen & Glenys O’BrienMs Posey O’CollinsMrs Veronica OffinFiona O’KeeffeTony OliverMrs Christine M O’NyonsElizabeth OomensMrs L OppenheimerMiss Nonie OppyMrs J Osborn-BlackMr David OssherMrs Janette OwenDr & Mrs K J OwenValerie P PackerAngelsea InvestmentsDi Palmer & Stephen Rodgers-WilsonMiss Cynthia ParkerMary ParryLouis W PartosMr & Mrs Thomas PayneMrs Vanessa PayneMrs Helen PearceL PeggieBarbara PerryDiana PerryMr & Mrs Gregory J PerryMrs Meredith PetersMr Ian R & Mrs Sheila J PettitMr Malcolm PhillippsDr Nicole PhillipsMs Debra M PinkertonMr & Mrs Osmond PittsJohn & Therese PlayoustMs Norma PlummerFrances PooleMs Melissa PorterMrs Kylie PriceMs Catherine PriestMs Elizabeth PriestlyMr Peter Charles Prior CLJVic Prosser AM & Minnetta ProsserMrs Esme ProudmanMrs J Pysden

Mrs Nerida QuatermassMrs Patricia QuayKim RaddonMr Ronald RainesMrs Rowena RansleyMrs Lynette RasmussenMrs Vi RathboneMs F ReedMiss Judi A ReesBarbara ReidMs Alison F ReinganumMr & Mrs Josel ReisingerMs Ann RenkinMiss Amanda RestonMargaret RexMr Corey T Reynolds & Mrs Stacey CamilleriMiss Jennifer RhodesJ RhodesJodie RicardoMrs Robyn RichMr Chris RichardsonMrs Anne RidleyMrs Nicholetta RiganoMr & Mrs Stuart RobertsMargaret RobinsonMs Dorothea M RocheMr Kenneth H RodrigoMrs Mimi Roennfeldt & Ms Heather CampbellMs Judi RogersPamela RogersPhyllis RogersMrs Pam RomanesDr John RosePamela RoseMs Glynis P RossMiss Jackie RossMrs Joan RossC J Ross-SmithMr S J RouthMs Gillian RozenbergL RusmanisMs L SandersDr Murray SandlandJulie SangsterMrs Meredyth Sarah AMDeborah SaundersMs Patrice ScalesIn memory of Phyllis ScarlettMr Franz C SchlosserMs Karen SchneiderDr Nic SchofieldMiss Sarah SciaccaCoral ScottMrs Darleen S ScottElizabeth ScottMr Alex ScuttMrs Christine SearcySuzanne SearlsDr Heather C SedmanMrs Margot SeeleyMrs Marilyn SeidelDr S P SekulesMrs Deirdre SelbyMs Bente SeterdalMrs Elizabeth SeviorMrs Ann M ShandleyBruce ShanklandMr Geoffrey SharpMs B SharphanMs Dianne ShayMiss Rhonda SheehyMrs Lisa Sheldon

Mrs Patricia SheldonElizabeth & John ShepherdDr Peter Shepherd & Dr Lindsay DuncanMrs R ShepherdNoriko ShimadaMs Elaine ShmithMr Charlie ShuetrimMrs Bronwyn R SimonsSara J SimpsonMrs Shirley SimpsonMrs Pamela SinclairDr A SingerDr Draginja SingerDana SkopalDeborah SmithDr & Mrs Durham SmithMr & Mrs Edmund SmithMs J SmithMrs Janine Smith & Mrs Donna AndrewsMr Jeff SmithMrs Jocelyn SmithMrs Joyce SmithMr Barry Smith-RobertsMrs M E SnowballMr Alan SolomonMr Peter Southwell-KeelyMiss Beverley SpinksMrs Sandy StarbuckMs Miranda S Starke YoungMs Elizabeth StarkeyMr & Mrs Patrick StauntonMs M StavretisMrs Judith SteeleMr & Mrs R E SteinleinMs B StellerMr William StenlakeMrs Patricia StephenMs Valma StewardJ StewartRod StirlingMiss H StockMrs Wilma StuartSuzanne SwenssonYasmin SwifteMs M SwinbourneRegine SzmulewiczCraig TabernerAlan & Rhondda TaffsMs Ruth TateDr Bernadette TaylorDoody TaylorM J TaylorSandra Terrill & Grahame RafteryD ThirkellMrs Annalise ThomasD ThomasMs Elizabeth ThomasDr Frances ThomasMrs Pamela ThompsonMr David ThomsonMr Alan ThorneMrs Penny ThringMrs Lesley ThrumMs Jennifer TittertonDr Diana TolhurstBarbara TomkinsMrs Alma TooheyMichele TopcicMr A.J. TruettMrs Shirley TsuiMr J Tucker

Mrs Merle TurkingtonMrs J TurnerJudy Turner & Neil AdamPatricia TylerDr Adaobi Udechuku, Miss Ifeoma & Master Miles DonnellanMrs Robin Van den BergMs Georgina VandenPatricia Speher VanderwalMrs Jill VaughanMs P VejaranoMr Nicholas VenetMs Susan VersluisMrs D Vey-CoxMr Harley R VincentElizabeth ViningG Wakeling-TaylorGeorge & Mary WalkerMelanie WalkerMiss Vicki WalkerMr & Mrs Edward WallaceMrs Gloria WallaceMr Peter Wallace & Mrs Helen WallaceMs Catherine M WalterMs Sarah WaltersMr Geoffrey Wannan & Ms Susan WannanMrs Carolyn WardMrs Judith WarrenMrs Ivy M WarthDr Margaret WattersMrs Christine WattsMrs Edna WeaverMrs Jean M WestRichard & Susan WestonS A WettenhallMrs Cheryl WeyneMrs Vivienne O WheelerWendy WheelerMs B WhiteMrs G WhiteMrs Patricia WhiteWendy WhithamMr Terry WiesnerMrs P D WiknerMrs Janice WilkinsonMrs Muriel WilkinsonMr David B WilliamsMr Ashley ParkerMrs P M WilliamsRandal WilliamsDr Peter WilliamsonMs Liz A Willis-MaconachieMr & Ms Robert WillsMs Desma WinnettFiona Clyne & Roger R WoockMrs Robyn WoodDr Lesley Woodard-KnightMrs Jann WyattMs Lana YauMr A YenckenPamela YuleGeorge ZalkMs Patricia ZeppelAnonymous (157)

We are grateful to the 580 individuals who made donations of $99 or less.

financial support 2010


MElBoURNE The Primrose Potter Australian Ballet Centre 2 Kavanagh Street Southbank Victoria 3006 Telephone (03) 9669 2700 mail@australianballet. com.au australianballet.com.au

SYDNEY The Australian Ballet Level 3 10 Hickson Road The Rocks Sydney 2000 Telephone (02) 9252 5500 The Australian Ballet ABN 57 004 849 987

Patron Her Excellency Ms Quentin Bryce AC Governor-General of the Commonwealth of Australia

BoARD Chair Christopher Knoblanche

Directors Robert O Albert AO, RFD, RD John Borghetti (from Feb) Toni Cody (to May) Jim Cousins AO Marilyn (Rowe) Cowden OBE (to May) Li Cunxin (Dancers’ Representative to July) John Ellice-Flint (from Feb)Christopher Goldsworthy (Dancers’ Representative from July) Felicity Gunner OAM (to Feb) Siobhan McKenna (from July) Sarah Murdoch Steven Skala (to Feb) Peter Smedley Julie (da Costa) Somers OAM Craig Spencer

Company Secretary Carol Benson

honorary life Members

Elizabeth Albert Robert Albert AO, RFD, RD John Calvert-Jones (from March) Timothy K F Cox AO Maina Gielgud AO John McCallum AO, CBE – Vale John McCallum February 2010 Frederick W Millar AO, CBE Lady Porter Lady Potter AC, DLJ Dame Margaret Scott DBE Lady Southey AM Josie Woodgate OAM

ExECUTIVE Artistic Director David McAllister AM

Executive Director Valerie Wilder

Music Director & Chief Conductor Nicolette Fraillon

Associate Artistic Director Danilo Radojevic

Associate Executive Director Patrick McIntyre (to Feb)

Chief Financial Officer Carol Benson

Director of Corporate Relations Sophie Webster (from March)

Human Resources Manager Helen Williams

Director of Marketing & Customer Services (to Dec) Philippe Magid

Associate Executive Director (from Dec) Philippe Magid

Director of Operations Helen McCormack

Director of Philanthropy Kenneth Watkins

Production Coordinator & Administrator, The Dancers Company Angela Embleton

Technical & Production Director Darren Conway

ARTISTIC Ballet Principal Coach & Ballet Mistress Fiona Tonkin

Ballet Mistress & Repetiteur Elizabeth Hill

Ballet Mistress & Rehabilitation Facilitator Noelle Shader

Choreologist & Ballet Master Mark Kay

Ballet Coach Megan Connelly

Resident Choreographers Stephen Baynes Stanton Welch

Music Principal Pianist & Music Librarian Stuart Macklin

Pianist & Associate Music Librarian Duncan Salton

Pianist Emma Lippa

Artistic Management Personal Assistant to the Artistic Director Larissa McKinnon

Artistic Administrator & Assistant to the Music Director Frank Leo

Artistic Coordinator Fiona Macmillan

Education Education Program Manager Colin Peasley OAM (to March)

Director of Special Projects Yvonne Gates

Education Consultant Helen Cameron

Education Operations Manager Viviana Sacchero (from Nov)

Education Coordinator Donna Cusack (from May)

Dance Education Ensemble Simone Pugla Adrienne Semmens Chloe Smith Dylan Tate

Medical Medical Coordinator Dr Ken Crichton

Sports Physician Dr Andrew Garnham

Principal Physiotherapist Susan Mayes

Physiotherapists Sophie Emery Ebonie Scase (from July)

Myotherapist Stuart Buzza

Consultant General Practitioner Dr Vicki Higgins

Body Conditioning Specialist Paula Baird Colt

STAGE Company Management Company Managers Robyn Fincham Sarah Griffiths

Assistant Company Manager Jasmine Moseley

Operations Coordinator Noeleen King

Travel & Freight Coordinator Michelle Saultry

Travel & Operations Assistant Lynne McDougall

Technical Stage Manager Fiona Boundy

Assistant Stage Managers Keiren Smith Victoria Woolley

Master Technician Bruce Gordon

Mechanists Bart Kendall Avon Kilcullen

Master Electrician John Berrett

Electrician Michael Pearce

Wardrobe Master Geoffrey Harman

Assistant Wardrobe Master Ian Martlew

Production Wardrobe Production Manager Michael Williams

Wardrobe Production Coordinator Jenny Howard

Head Costumier & Women’s Cutter Kerry Cumberbatch

Gentlemen’s Cutter Peggy Moad

Senior Costumier Maureen Ryan

Costumiers Marcia Bergh Jessie Dole Ruth Owen

Casual Costumiers Louella Baldet Penelope Bjorksten Maddy Collier Linda Doble Corinne Gibbs Lucy Gutszmit Emma Ikin Jessica Kelly Karine Larché Arnavaz Lindsay Elizabeth Maisey Angela Mesiano Musette Molyneaux Fiona Page Tessie Scott Trudy Scott Ellen Strasser Sally Sutherland Amy Watters

Head of Millinery Vicki Car

Casual Millinery Kate Powers Georgiana Russell-Head

Production Division Assistant Dana Morfett

Scenery & Properties Scenic Design Coordinator Scott Mathewson

Design Assistant Kat Chan

Store Wardrobe Manager Barbara Langley

Store Operations Manager Warren Rice

MARKET DEVEloPMENT Marketing Customer Relationships Manager Amalia Hordern (to Nov) Emma Carter (from Nov)

Database Administrator Richard Laslett

Marketing and Communications Manager Kate Scott

Campaign Marketer Daniel Burns

Online and Direct Marketers Chrystal Daniel Fiona Howat (from Aug)

Marketing Assistant Alycia French

Graphic Designer Jasmin Tulk

Publications Coordinator Isabel Dunstan

Picture Researcher Jo Sapir (from July)

Merchandising Coordinator & Assistant to AED Nicole Smith

Customer Services Manager Anna Held

Customer Services Coordinator - Operations Christopher Morgan (to Feb) Ann Brennan (from Feb)

Customer Services Coordinator – Sales Pam Martin

Customer Services Coordinator - Ticketing Anna Kavanagh

Customer Services Coordinator – Reports & Projects Jade Moore

Customer Services Assistants Catherine Adey (from Apr) Nicholas Prideaux (from Feb) Shane Sotiropoulos

Corporate Relations Corporate Partnerships Manager Sophie Webster (to March)

Corporate Relations Account Managers Elizabeth Gauld Shalini Hartog (to Aug) Claire O’Riordan (from Jul)

Business Development Kathy Gambranis

Cultural Development Manager Matthew Morse (to July) Shalini Hartog (from Aug – Sept)

National Events Manager Fionn Meikle

Development Account Coordinator Tiffany Moulton (to May) Stephanie Perrett (from June)

Reception/Office Administration Kendal Cuneo

Publicity Media Relations Manager Kitty Walker

Publicist Donna Cusack (to May) Nicole Lovelock (from June)

Media Coordinator Bradley Grimshaw

Media Assistant Felicity Howell (from May)

PhIlANThRoPY Senior Manager – Annual Gifts Judy Turner (from July)

Senior Manager – Major Gifts Ken Groves (from Nov)

Philanthropy Services Manager Susan Learner (from May)

Philanthropy Managers Pin Affleck (from Sept) Jane Diamond

Private Giving Coordinators Donna Brearley (to July) Katherine Chien (to Apr) Sharyn Gilham (to July)

Planned Giving Manager Donna Brearley (from July)

Grants Manager Nicholas Hays (from Dec)

Data Coordinator and Assistant to PG Director Melissa Harty (to July)

Prospect Researcher Melissa Harty (from July)

Philanthropy Assistant – Donations & Events Shaun Larkin (from August)

Assistant to Director of Philanthropy Sharyn Gilham (from July)

Private Giving Assistant Lynn Neilsen

company and directors 2010

2010 2009 2008 Female Male Total Female Male Total Female Male Total

Dancers 38 30 68 38 31 69 38 30 68

Artistic and Medical 8 6 14 9 7 16 8 8 16

Music 2 2 4 3 2 5 3 2 5

Production, Technical and Company Management 22 11 33 21 11 32 22 11 33

Marketing, Media, Publications, Customer Service, Corporate Relations, Philanthropy 30 7 37 25 6 31 23 6 29

Administration and Finance 15 5 20 13 7 20 11 7 18

Education 4 1 5 2 1 3 2 1 3

Total 119 62 181 111 65 176 107 65 172

EMPloYMENT STATISTICS as at 31 December 2010

ADMINISTRATIoN Finance and Administration

Finance Manager Carolyn Dryley

Financial Accountant Diana Bedoya (from August)

Operations Accountant Felicity Frederickson

Payroll Administrator Samantha Oliver

Accounts Administrator Denise Barratt

Finance Assistant Thilini Siriwardana (from Sept)

Personal Assistant to Executive Director Louise Grills

EHS Coordinator Marina Milankovic

Office Administrator Tracy Hosier

Receptionist Jenny Abramson

IT Manager Damien Calvert

IT Assistant Peter Hawthorn

ThE AUSTRAlIAN BAllET CENTRE PTY lTD ABN 16 005 363 646

Director Christopher Knoblanche (Chairman)

Company Secretary Carol Benson

Administration Building Services Administrator Jackie Harris (to May)

Casual Maintenance Stephen Reddrop

Car Park Manager John Vanderstock

Car Park Attendants Vi Nguyen (from July) Brendon Richardson (to May) Maurice Surley

ThE AUSTRAlIAN BAllET 2010 DANCERS

Principal Artists Olivia Bell Adam Bull Robert Curran Lucinda Dunn Madeleine Eastoe Daniel Gaudiello (from Nov) Kevin Jackson (from Nov) Lana Jones (from Nov) Kirsty Martin Yosvani Ramos Rachel Rawlins Danielle Rowe

Senior Artists Daniel Gaudiello (to Nov) Lana Jones (to Nov) Kevin Jackson (to Nov) Andrew Killian Miwako Kubota Amber Scott Leanne Stojmenov

Soloists Gina Brescianini Juliet Burnett Jane Casson Tzu-Chao Chou Matthew Donnelly Reiko Hombo Luke Ingham Ty King-Wall Laura Tong

Coryphées Kismet Bourne Ben Davis Jia Yin Du Natalie Fincher (nee Hill) Amy Harris Rudy Hawkes Robyn Hendricks Natasha Kusen Brett Simon Jacob Sofer Dana Stephensen Stephanie Williams Vivienne Wong Andrew Wright

Corps de Ballet Dimity Azoury Brett Chynoweth Kristy Corea Victor Esguerra Eloise Fryer Rohan Furnell Jessica Fyfe Ingrid Gow Noah Gumbert Chengwu Guo Halaina Hills Calvin Hannaford Jack Hersee John-Paul Idaszak

Ako Kondo Brooke Lockett Jarryd Madden Luke Marchant Heidi Martin Karen Nanasca Mitchell Rayner Sharni Spencer Garry Stocks Benjamin Stuart-Carberry Valerie Tereshchenko Charles Thompson Sarah Thompson Alice Topp Jessica Wood

ThE DANCERS CoMPANY Guest artists (from The Australian Ballet) Kristy Corea Daniel Gaudiello Reiko Hombo Yosvani Ramos Dana Stephensen Garry Stocks

Special Guest Artists Francis Croese Simon Dow

Choreography Ai-Gul Gaisina after Marius Petipa

Set Design Francis Croese Scott Mathewson

Costume Design Barry Kay

Lighting Design Francis Croese

Pianist Yura Dubovsky

Technical Merideth Clements Greg Dye Stuart McKellar Victoria Wooley Pippa Wright

BoDYToRQUE Choreographers Timothy Brown Robert Curran Daniel Gaudiello Alice Topp Damien Welch

Guest Artists Virginia Cumerford – solo viola Duncan Salton – solo piano Eugene Ughetti – solo percussion

Costume Designers Melanie Bower Georgia Clark Crystal Dunn Ryan Euinton Georgia Lazzaro Bridie O’Leary Musette Molyneaux – costumier

Lighting Designer John Berrett

Music Travis Hodgson of Hoof and Antler Eugene Ughetti Damien Welch

Video Artwork Emmanuela Prigioni Luke Tipene

GUESTS oF ThE AUSTRAlIAN BAllET Guest Artists (Principal roles) Chi Cao David Hallberg

Guest Artists Shane Carroll Kathleen Geldard Marilyn Jones Audrey Nicholls Robert Olup Andris Toppe

Guest Exchange Artists Alexander Campbell (from Birmingham Royal Ballet)

Guest Conductors Olivier-Philippe Cuneo Philip Ellis Simon Thew (Hephzibah Tintner Foundation Conducting Fellowship) Ormsby Wilkins Tom Woods

Guest Teachers Johnny Eliasen Wendy Walker

Guest Coaches Sharelle Charge Ann Jenner

ChoREoGRAPhERS, CoMPoSERS & REPETITEURS

Choreographers Mark Annear Tim Harbour Graeme Murphy Janet Vernon

Repetiteurs Desmond Kelly Donald Mahler George Ogilvie

Composer Gerard Brophy

SET, CoSTUME, lIGhTING DESIGN

Bluebotte 3 Damien Cooper Francis Croese Alexis George Roger Kirk

62 The Australian Ballet

Lead Sponsors

Principal Sponsor

partners 2010

Supporting Sponsors

Australia’s leading Mind & Body Health Club Group

Your global fresh produce partner

Government Partners

The Australian Ballet is assisted by the Commonwealth Government through the Australia Council, its arts funding and advisory body

The Australian Ballet is supported by the NSW Government through Arts NSW

The Australian Ballet is supported by the Victorian Government through Arts Victoria

The Australian Government is proud to be associated with this tour through the national performing arts programme, Playing Australia, which gives Australians across the country the opportunity to see some of our best performing arts

Telstra, supporting The Australian Ballet for more than a quarter of a century

Nurturing the future of Australian ballet

Proud sponsor of The Australian Ballet

Australia’s newest world-class resort is proud to support The Australian Ballet

Supporting the magic of ballet


Major Sponsors

Official Outdoor Media Partner

Méthode Tasmanoise®: Exclusive sparkling wine sponsor

Official Airline of the The Australian Ballet

The Dancers Company Regional Touring

Sponsors of the 2010 international tour

Elegant, Understated and Stylish

Sydney Hotel Partner of The Australian Ballet

The fashion of ballet to come


Official Wine Sponsor of The Australian Ballet

Ballet. for life Volvo. for life



Matching Grant Partner

63

Registered office The Primrose Potter Australian Ballet Centre 2 Kavanagh Street Southbank Victoria 3006 Australia Telephone +61 3 9669 2700 Facsimile +61 3 9686 7081 ABN 57 004 849 987

Sydney office The Arts Exchange Level 3, 10 Hickson Road The Rocks Sydney New South Wales 2000 Telephone +61 2 9252 5500 Facsimile +61 2 9252 5610

Scenery & Wardrobe Store 2 Chelmsford Street Kensington Victoria 3031 Telephone +61 3 9376 3903 (Scenery) +61 3 9372 5993 (Wardrobe)

australianballet.com.au

Cover: Juliet Burnett Photography Paul Empson

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