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sPATRON

Her Excellency the Hon. Kerry Sanderson AOGovernor of Western Australia

PATRON, PRIVATE GIVING

ALEXANDRA BURT

SPRING 2014

SOLOIST SARAH HEPBURN ON SUCCESS

WAB’S DEBT TO DIAGHILEV

MORE THAN ONE STRING TO DANIEL ROBERT’S BOW

BACKSTAGE @ LA FILLE

PRiNciPAL PARTNER

Matthew & Oliver Edwardson, Reika Sato, Kymberleigh cowley and christopher Hill

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WElcOmEWE WElcOmE NEW dANcERS TO ThE cOmPANy: Australians christopher hill, joining us from the Royal Ballet of Flanders and Kymberleigh cowley from Vienna Festival Ballet, along with British-born matthew and Oliver Edwardson (yes twins!) and from Japan, Reika Sato, all previously with the Victor Ullate Ballet, Madrid.

We also welcome Kate Ebsary into the role of Deputy Wardrobe Supervisor and danielle miller as Wardrobe Assistant.

NEW ARRIVAlS Principal dancers Fiona Evans and Sergey Pevnev have recently celebrated the arrival of their second child – a beautiful baby girl, Alesya.

FROM THE GREENROOM

A big thank you to all who completed the survey in the Autumn edition of Ballet News. We were more than delighted that 95% of respondees indicated that they were pleased to receive Ballet News, and have provided considered and thoughtful comments about the publication.

Many of your suggestions have been incorporated into this latest edition of Ballet News, reflecting our continuing aim to provide insights about our

talented dancers, the company, productions and events for your interest and enjoyment. Your feedback is always welcome, so please don’t hesitate to send through comments or suggestions at any time.

In this edition we reflect on the creative legacy of our past creative directors, all the way back to the formative influence of Diaghilev’s Ballets Russes. Over the past 62 years WAB has woven an extraordinary tapestry that has influenced generations of dancers and enriched our communities in a myriad of ways.

And on the topic of enriching communities, West Australian Ballet is very proud to be partnered by two outstanding corporations who this year celebrate significant anniversaries: Wesfamers has achieved its 100th year of operation, beginning life as the Westralian Farmers Co-operative; and another WA corporate icon, Woodside, has reached its 60th year as Australia’s number one oil and gas producer. Likewise, our partner in performance, the historic His Majesty’s Theatre – one of only two ‘His Majesty’s’ left in the world (the other is in Aberdeen) – celebrates its 110th year in show business.

However you support WAB, whether a spectator or active participant (and that list of examples is very long!) the part you now play or the legacy you leave, adds layer on layer to the rich creative tapestry that is your West Australian Ballet Company.

Steven

STEVEN ROTh chief Executive AlEXANdRA BURT Patron, Private giving

dear WAB friends and supporters

I believe that each of us leaves a legacy on this planet. Whether it be material or spiritual, family or professional, it is one of our important duties. We are only here for a short time ‘in transit’, so we all need to make sure that what we leave behind is the best it can be for the future generations.

Hopefully one of the many little legacies resulting from my time here in Perth will take place on the 20th of November. This year is the 100th anniversary of Wesfarmers and on the 20th there will be a big gala dinner in Perth to celebrate their significant milestone. So what is this little legacy?

Well… since Wesfarmers is one of WAB’s longest term major sponsors, and a proud Western Australian company like WAB, they would like us to be involved in the dinner with a performance. Unfortunately the timing isn’t good, as this date is the final general rehearsal for Snow

White and the 7 Dwarfs, and every one of our male dancers is required on stage. So… you may have guessed it… after six years of retirement from dancing I have decided to perform again, so that we don’t let our wonderful sponsor down. Soloist Sarah Hepburn and I will perform a special pas de deux on Cry me a River created by Jayne Smeulders.

Like you all, dear friends, Wesfarmers is a great supporter of WAB and I couldn’t imagine a better way to say thank you to them and to re-enforce our relationship. To be back on stage after such a long period is for sure a big challenge, but it is also my way of expressing my love and support of our beautiful West Australian Ballet Company. So it’s off to the gym again for me today… and tomorrow…and…

One thing is certain – life wouldn’t be the same without the arts and Perth wouldn’t be the same without WAB. So let’s all, together, continue to support our ballet company and leave little lasting legacies that will ensure our children and our communities enjoy ballet in Perth for years to come.

Aurélien

AURElIEN ScANNEllA Artistic Director

FONd FAREWEllS After nine years with WAB, Alessandra d’Arbe is hanging up her pointe shoes and emigrating to italy with her partner, artist Francesco Villicich, and dancer, dane holland, has recently taken a position with ivan’s company, Ballet de l’Opéra national du Rhin.

We also farewell from Wardrobe, Alexandra crosby, who is moving to Switzerland.

We wish them well in their forthcoming endeavours.

‘THEY’VE DONE IT AGAIN!’ it should be a headline in the national newspapers, screaming out about yet another incredibly successful year for West Australian Ballet. The rest of the article might go something like this:

Just like an unbroken string of great wine vintages, West Australian Ballet has again presented audiences with an outstanding year of dance with a dynamic programme of everything from the oldest of ballets (Giselle) to the newest (‘Radio and Juliet’). After six successful years under the stewardship of Ivan Cavallari, 2014 was the first year programmed by artistic director Aurélien Scannella and it didn’t

disappoint. Thanks to Aurélien, Perth and Canberra audiences have now had the chance to see ‘La Fille Mal gardée’, a stunning and joyful gem that is rarely performed anywhere in the world, and the year finishes on another high with the Australian premiere of ‘Snow White and the 7 Dwarfs’.

Ballet lovers and critics alike around the country have had their eyes drawn west over the past few years by the brightness and energy of this ever-growing company. Year by year, its profile has lifted to the point where it is recognised not only as the oldest ballet company in Australia, but also one of the greatest and an undeniable magnet for audiences looking for the best from this artform.

Its future looks equally bright with an electric line-up for 2015 including a full bill of premieres at the Quarry season, ‘Cinderella’ and ‘Coppélia’, both classics exquisitely and sympathetically re-imagined for 21st century audiences, and, in a coup for the company, a full evening of works by one of the world’s greatest ever choreographers, George Balanchine, under the title, ‘Embraceable You’. Balanchine’s choreography can only be performed with the permission of The George Balanchine Trust and under strict performance guidelines, and whilst the company has performed individual Balanchine works in the past, this is the first full programme of his works. The Trust

is known for its extremely high standards, so this permission is a tremendous endorsement of the WA Ballet and its calibre of dancing.

Looking back, the company can reflect on the last decade with a justifiable sense of achievement and pride. Looking forward and with excellence always in its sights, the company has so much to be excited about.

i’m certainly no journalist and this is almost too good a news story to be printed by any newspaper (not enough drama, intrigue, betrayal or violence probably) but that doesn’t change the fact that every word is true. Our company, your company, has so much to be proud of and i for one can’t wait to celebrate more milestones in 2015 and beyond. West Australian Ballet is well on its way to making its mark in the history books for more than just its age. What a wonderful thing to be a part of!

But as always, we can’t do this alone. We need your support both in the theatre to encourage and applaud, and through your financial support to help us to raise the significant budgets required to produce work of this calibre. We are part of this community of arts lovers, and our communities are the beneficiaries of all that the company delivers. Thank you for your continued support and we look forward to seeing you in 2015.

Alexandra

Danielle Miller

Kate Ebsary

Fiona Evans with daughters Nadia & Alesya

2014 is a year of milestones in WA. it is the 110th anniversary of Perth’s much-loved his majesty’s Theatre, our historic performance home. it is the 100th anniversary of Western Australia’s most important ‘grass roots’ company, Wesfarmers – a proud supporter of WAB and the arts in WA for many, many years. And it is the 60th anniversary of our Principal Partner, Woodside – Australia’s largest and most successful oil and gas producer. Together with West Australian Ballet’s 62 year history, our organisations account for 330 years of lasting legacy to Western Australia and our nation.

We say Happy Birthday and applaud their success!

WeSt AuStRAliAn BAllet’S legACy funD iS nAmeD AfteR ouR founDeR, KiRA BouSloff (Whom you CAn ReAD ABout lAteR in thiS eDition). BequeStS AnD mAjoR giftS to thiS funD ARe uSeD to pRoviDe foR the futuRe of WeSt AuStRAliAn BAllet.

if you WoulD liKe infoRmAtion ABout leAving A legACy, pleASe ContACt philAnthRopy mAnAgeR CAtheRine henWooD on (08) 9214 0707, ChenWooD@WABAllet.Com.Au oR go to WABAllet.Com.Au > SuppoRt > plAnneD giving.

lEAVE A lASTING lEGAcy

SOmE SIGNIFIcANT ANNIVERSARIES!

Front cover image: Sarah Hepburn, photo by Sergey Pevnev

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HOME GROWN AUSSiE, DANiEL ROBERTS, iS RENOWNED FOR HiS TALENTS ON THE STAGE, AS WELL AS HiS EXcEPTiONAL TALENTS AS A cAPTiVATiNG, iNNOVATiVE cHOREOGRAPHER. SiTTiNG DOWN WiTH DANiEL iS ALWAyS ENTERTAiNiNG AND GETTiNG TO GO iNSiDE OF HiS cHOREOGRAPHic BRAiN WAS NO DiFFERENT. DANiEL HAS BEEN cREATiNG DANcE WORKS OF HiS OWN FOR qUiTE A FEW yEARS, HiS FiRST BEiNG HOLD THE FOuRTH FOR SiNGAPORE DANcE THEATRE’S cHOREOGRAPHic WORKSHOP.

Fast forward a couple of years and having joined WAB, Daniel was given the opportunity to create a piece for the whole company, Jubilate, to celebrate the opening of the new

WABc in April 2012. Daniel credits this as a highlight, as it was the first time creating something with a special purpose in mind. Other highlights include taking this work and expanding it for the 2013 ‘Ballet at the quarry’ season and now, preparing for his second major work to be premiered at the quarry in 2015.

Jubilate was Daniel's first main stage experience with WAB and such a huge task could have been quite overwhelming for someone quite young, but Daniel's confidence shone through and Jubilate ably demonstrated how to bring movement, colour and dancers together to create something that is entertaining to watch, as well as being a great piece to perform.

Looking ahead to quarry Season 2015, Daniel is not only honoured to be given another opportunity, but is looking forward to 'learning from last time' and using those tools to better communicate his ideas. One of the most important things he has learned, is how much he enjoys the collaboration process with

DANciNG TO dANIEl’S TUNE!

By dancer meg Parry

everyone from wardrobe and technical production, to creating on his dancers.

i think one of Daniel's best choreographic tools is humour, which was seen in both Jubilate and his piece for this year’s Genesis programme – unexpected Consequences. Daniel’s original idea was to create movement never seen before and to work within a confined theme, with music constructed in a different way. Also to shape the movement so it was not only engaging for the audience, but pushed himself physically and mentally. What resulted was Hold the Fourth (part one) a bold, stunning and technically demanding pas de deux. The piece for quarry 2015 will be a continuation of this original Genesis creation.

So how does Daniel go about delivering on such a huge opportunity? Music plays a key role for Daniel and is generally the

first thing he decides on. With regard to the movement, Daniel is always quite clear and assertive about what he wants and as a dancer, working with him is always a satisfying combination of give and take, along with the freedom to have your own stylistic qualities. Hold the Fourth is a huge creation, both in the movement as well as the collaborations, including composer caitlin Woods, who is creating some stunning sounds to match Daniel's big ideas.

i think Daniel's pieces are always challenging and exciting for dancers and captivating for the audience. i have no doubt that this is because Daniel believes ‘choreography represents the choreographer in that moment of their life’. i have no doubt that we can expect to see a lot more of Daniel on and off the stage for a long time to come. And i for one can't wait to see what’s next.

By young Artist Emily luxton

SARAH HEPBURN, SOLOiST OF WEST AUSTRALiAN BALLET, MAy BE SMALL, BUT DON'T LET HER PETiTE SizE FOOL yOU, SHE'S WAB'S OWN POcKET ROcKET. THE GRAcE, STyLE AND cHARiSMA SHE BRiNGS TO THE STAGE HAS DELiGHTED PERTH AUDiENcES FOR MANy yEARS.

Born in Melbourne, Sarah moved to Perth with her family at just 18 months. Sarah's first memory of dance is performing the lead role in a piece called "Siamese dancers" at three and a half years old. Professional dance training began with the Stevens Dance Academy (now called Academie Etoile).

At 15 years old Sarah was accepted into the Western Australian Academy of Performing Arts (WAAPA). in her graduation year she auditioned for West Australian Ballet and three weeks before her final performances, Sarah received a phone call with an offer of a young Artist contract – the first ever young Artist position with the company. Her fellow colleagues Meg Parry and Victoria Maughan were also accepted into the young Artist Programme.

Sarah has gone on to have a very successful career with WAB. in her second year with the company she received the opportunity to dance Juliet in youri Vamous' Romeo and Juliet: ‘i was only in my second year, and was so nervous before the opening night, but as soon as the curtain came up i just enjoyed every second of every performance.’

Juliet, together with Giselle from Aurélian and Sandy's version of Giselle have been two of her favourite roles. Both were performed with the exceptional Sergey Pevnev, Principal Dancer with WAB. ‘Every show was such an emotional journey, i love performing dramatic roles. it (Giselle) was a role i never thought i would dance as i never thought i was suited to it. i had many intense, but rewarding, rehearsals with Aurélian and loved every second of it.’

On being promoted to company Soloist, Sarah says: ‘i was very excited being promoted to Soloist. it meant i received many fantastic

roles but also made me work harder as i feel the higher you go in rank the harder you must work. i always love a challenge, i find that it is easy to be pigeon-holed as one type of dancer and so i like to be given the opportunity to try different styles or characters to prove to audiences that i am not just one type of dancer. i like to be able to prove it to myself as well.’

Sarah is influenced by watching famous ballerinas such as Marianela Nunez on youTube (a thing we share in common; do watch her, she's fantastic!). And her greatest support is husband Dan who ‘encourages me in all my life decisions.’

When asked what she loves most about working at WAB Sarah says: ‘The things i love most are the beautiful people that we work with every day. The dancers are all hard workers but always happy and friendly and encouraging to everyone. We really have a wonderful company of dancers.’ Sarah's hard work and friendly

personality is the reason i admire her; she is someone who has overcome the many challenges dancers face throughout their career and has risen to be a beautiful and bright star on His Majesty's stage.

As for her advice to young hopeful dancers: ‘i have to keep reminding myself that it doesn't matter which school you trained at or which company you've been in, what matters is how hard you work every day, how much information you can soak up from all your teachers and apply it as best as you can. it's up to you as a dancer to determine how well you do.’

SARAH HEPBURN WAB’S ‘POCKET ROCKET’!

IN T

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Development AnD ARtiStiC DiReCtoR’S DiSCRetion,

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it iS An inveStment in ouR CReAtive futuRe.

Sarah & Sergey pevnev in la fille. photo by emma fishwick

Daniel & Brooke Widdison-jacobs in Radio and juliet. photo by Sergey pevnev

Sarah in rehearsal for giselle with Andre Santos. photo by Sergey pevnev

Sarah in rehearsal with Sergey Pevnev for La Fille mal gardeePhoto by Jon Green

photos by Sergey pevnev

Daniel Roberts foreground with Matthew Lehmann & Sarah Hepburn

Alexandre Dahms & Chloe Henderson Victoria Maughan, Melissa Boniface & Polly Hilton

Phebe Sleeman & Melinda Henderson Andre Santos Hitching a Ride

Robert Mills with Melinda Henderson & Ariane Robinson Matthew Lehmann Getting Ready to Go Onstage

Andre Santos & Alessio Scognamiglio The kids from La Fille 7

AN INTIMATE GLIMPSE BACKSTAGE AT La Fille mal gardée

Robert MillsLeonardo Laurent Mancuso

Matt Norman as counterweight with Matthew Lehmann & Jayne Smeulders Benjamin Kirkman & Alessio Scognamiglio

Jenna Boston & Robert Mills Conductor Myron Romanul (with mic) & Choreographer Marc Ribaud

Serge Diaghilev

Col. de Basil Kira Bousloff

james penberthy & Kira Bousloff

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AFTER 650 PERFORMANcES iN FOUR cAPiTAL ciTiES OVER FOUR yEARS, cOL. WASSiLy DE BASiL’S THREE BALLETS RUSSES cOMPANiES (THE EVOLUTiON OF SERGE DiAGHiLEV’S BALLETS RUSSES LEFT AUSTRALiA iN A DizzyiNG STATE OF

BALLETOMANiA. DESPiTE THE BEGiNNiNG OF WORLD WAR TWO, BALLET cLASSES BULGED AND WiTHiN JUST TWO yEARS, SEVERAL OF THE ‘RUSSiANS’ WHO HAD DEciDED TO REMAiN iN AUSTRALiA FORMED cOMPANiES. SADLy, ONLy EDOUARD BOROVANSKy’S iN MELBOURNE SURViVED. PERTH, WHicH WAS NOT iNcLUDED iN THE RUSSiAN TOURS, LARGELy HAD LiNLEy WiLSON’S STUDENT-BASED cARAVAN BALLET AND RARE ViSiTS FROM THE BOROVANSKy BALLET TO FiLL THE GAP UNTiL 1952 WHEN THE qUEST TO cREATE A PROFESSiONAL cOMPANy iN THE WEST TOOK WiNGS.

By dance and arts writer lee christofis

Kira Bousloff was a dancer in col. W. de Basil’s covent Garden Russian Ballet (1938-1939).

initially docking in Fremantle in 1938 ahead of an Australian tour, she later returned to Perth with Melbourne-born composer-conductor James Penberthy in 1952. They were lovers and colleagues, coming from the Melbourne-based National Theatre Ballet (1949-1955) where Bousloff taught and choreographed and Penberthy was music director.

WAB’S RicH cULTURAL LEGAcy

With Bousloff’s drive and experience, and Penberthy’s fervent creativity, a new company could be seriously considered and so in 1952 with limited means and much energy, a new entity was conceived and initially resourced by committed teachers, dancers and balletomanes with dedication to balletic traditions and new creations. But it would take 18 years to build a fully professional company.

WAB’s early repertoire included works by Bousloff and colleagues such as Marina Berezowsky, as well as variants on Ballets Russes productions staged by other de Basil artists such as yurek Shabelevsky and Kiril Vassilkovsky. Equally important was the sense of Australian identity that permeated new ballets with music by Penberthy. These include Brolga, a highly expressionistic movement work based on an Aboriginal initiation story for the gifted young

AN INTIMATE GLIMPSE BACKSTAGE AT La Fille mal gardée

who had worked the touring Ballet Rambert from London and the National Theatre Ballet, replaced Bousloff. The company was re-launched in 1970 with a grant to employ nine fulltime dancers. An urbane man, Reid added modern and traditional works. They include The Night is a Sorceress (1959), a haunting Deep South mystery with jazz music by African-American Sidney Bechet, and the Japanese dance drama The Glade (1970).

He also commissioned Garth Welch’s expressionistic Woman of Andros set to Henk Bading’s electronic music, bringing together near-nudity and Australia’s prima ballerina, Marilyn Jones, in a satisfying dramatic role.

The prolific Louis Moreno (1973 -1977) brought refreshing cultural aspects of Spanish dance and drama with his Carmen, and excerpted versions of Petipa’s Paquita and Le Corsaire. He engaged stunning Russian ballerina Galina Samsova and her partner Andre Prokovsky as guest artists, and staged a complete Coppelia. Perth-born, Royal Ballet dancer Robin Haig (1977-1979) replaced Moreno.

She created works and presented others by Australians Leigh Warren, Walter Bourke and Garth Welch, and Britons Peter Darrell and Jack carter. She also commissioned works by Jacquie carroll, Sara Suighara, Gerrard Sibritt and Reid, who commissioned a score from Verdon Williams for his ballet Tancredi and Clorinda. This was an exhaustingly busy period for Haig, capped by the welcome arrival of ballet master Hans Brenaa to stage excerpts from Royal Danish Ballet’s Bournonville repertoire.

Returning as director, Welch (1979-1983), invited many guest artists and created his own works, notably KAL, a witty, theatrical show full of lively numbers; it was also the company’s first three-act ballet. With a score by Verdon Williams and Graham Maclean’s excellent designs for a fictional 1890s mining town, KAL was the ideal work for the restored His Majesty’s Theatre, which opened in May 1980. Welch’s impressive repertoire for the reopening of this historic treasure included new contemporary works by Barry Moreland and Don Asker.

Moreland’s fourteen-year directorship (1984-1997)focused on Diaghilev’s principle of commissioning new designs for the best contemporary artists for his original Ballets Russes company in Paris (1909-1929). Moreland attracted Robert Juniper and charles Blackman, whose bold sets and costumes brought brilliant, imaginative elements to the stage. Similarly, young architect Andrewcarter rebooted the sense of how a story ballet can look with light, spacious structures. Just as Diaghilev honoured the past, Moreland invited former Royal ballerina Beryl Grey to stage Giselle, simultaneously revitalising the company’s technique and style. He also created nine full-length ballets, including Alice in Wonderland, A Midsummer Night’s Dream and Lady of the Camellias. He commissioned new works too from emerging choreographers, notably Edmund Stripe, Natalie Weir and, chrissie Parrott; both women were commissioned again by Ted Brandsen (1998-2001).

Brandsen was a very contemporary neo-classicist with a lean style and fine musicality. His abstract Bridge Variations (by Britten) was exceptional. He condensed story ballets in line with contemporary taste, making his Carmen and Romeo and Juliet

classics of their kind – symbolic and dramatic, with each dancer coached to act through their whole body. Brandsen also introduced the austere Dutch modernist Hans van Manen to West Australia, whose choreography should be better known right across Australia.

Brandsen’s dancers became the backbone of Simon Dow’s directorship (2003-2007), dominated by demanding story-ballets on popular themes: La Boheme, The Red Shoes, Cinderella, for example, in which many dancers blossomed. Dow’s dual focus on technique serving character and story development was crucial, and informed many-one act ballets too.

ivan cavallari’s years with the company (2007-2012) were extraordinarily rich, drawing on his broad European experience of roles, choreographers, composers and designers. His humour and flair came through his choices, as did his dedication to characterisation. His full-length ballet, Pinocchio, was the culmination of his creative development, and raised the bar for future large ballets in Australia.

if his creations and imports sometimes mystified his audience, his staging of Glen Tetley’s Voluntaries and John cranko’s Taming of the Shrew and Onegin were a gift to West Australians, as these works had only been available to the national company.

Aurélien Scannella (2013 -) comes from a similarly European context; his dedication to the integrity of ballet is perhaps even more pronounced, as seen in Giselle last April. However, his taste for popular culture has led to exciting developments, and if this year’s sensational quarry season is a signal, artistry, spectacle and substance, not just show, will become Scanella hallmarks.

it was only by taking such risky leaps beyond the familiar that ballet changed its course in Diaghilev and de Basil’s eras. in the 21st century we should all be emboldened by their example.laurence Bishop, Robin haig & luis moreno in the glade by Rex Reid, 1970

louis moreno & Robin haig

Barry moreland

ted Bransen rehearsing jacinta Ross-ehlers in Romeo & juliet

Simon Dow

garth Welch

ivan Cavallari

Aurélien Scannella and Sandy Delasalle

marilyn jones in Woman of Argos by garth Welch, 1972

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Terri charlesworth, The Beach Inspector and the Mermaid, a romantic comedy involving actual life-savers, and Kooree and the Mists, made on another Aboriginal story and the nation’s first indigenous ballet dancer, Mary Miller. Vassilkovsy, created several works including uirapuru, from a Brazilian legend, and Black, or White, with an indonesian composer, creating the nation’s first Southeast Asian collaboration. And in 1961, French dancer Robert Pomie staged his sunny, stylish ballet The Surfers and five other ballets for a Perth season and the company’s first major tour in 1961. These were exciting years indeed.

inevitable change, government funding conditions and the birth of The Australian Ballet in 1962, brought the company’s establishment phase to a close. A newer modernity and glamour were called for and in 1969, Adelaide-born Rex Reid (1969-1973),

Rex Reid with company members 1970

young Artist Snapshot AnDReW RADAK

ANDREW, AND OTHER GIFTED YOuNG DANCERS, HAVE THE OPPORTuNITY TO LIVE THEIR DREAM BY GAINING A ‘STEP uP’ TO A PROFESSIONAL CAREER THROuGH THE GENEROSITY OF PRIVATE FOuNDATIONS AND PATRONS SuCH AS THE BenDAt fAmily founDAtion, WHO PROuDLY SuPPORT ANDREW’S YOuNG ARTIST SCHOLARSHIP.

STuDENTS WHO ExPERIENCE HARDSHIP OR ARE CLASSIFIED ‘AT RISK’, HAVE THE OPPORTuNITY TO ExPERIENCE THE MAGIC OF DANCE THROuGH THE GENEROuS SuPPORT OF THE CLOuGH FOuNDATION –PARTNER OF WAB’S ‘CHANCE TO DANCE’ PROGRAMME.

AT JUST 22 yEARS OF AGE, ANDREW RADAK POSSESSES A SWEET MiX OF BOyiSH cHARM AND A POLiTE DiSPOSiTiON THAT MAKES HiM A PLEASURE TO BE AROUND. HE iS EFFERVEScENT, AND AS DELiGHTFUL iN PERSON AS HE iS WHEN PERFORMiNG.

Originally from Melbourne, Andrew started full time ballet training at the age of 17 at National Theatre Ballet School before heading to the queensland Ballet in 2013 to complete a pre-professional year. As a child he used to bug his mum about taking ballet classes, and at age eight he finally had his chance to dance. The chinese Variation from The Nutcracker is now one of his top choices to perform.

During our chat i asked Andrew if he had any party tricks... he did! He has the awesome ability to wrap one leg around his head and then stand up straight on his other leg. Andrew also enjoys water-skiing, camping and rollerblading – living every moment to the full.

One thing that struck me about Andrew was his mature and positive outlook on the future. He believes everything happens for a reason and his ‘take it as it comes’ attitude will surely serve him well.

By Philanthropy Manager catherine henwood

RICHARD MURPHY AND KAY LEE HAVE A TRULY UNIqUE PARTNERSHIP. ONE LOVES BALLET, THE OTHER HOCKEY, YET THEY HAVE A SPECIAL ASSOCIATION WITH WEST AUSTRALIAN BALLET AS BOTH SUBSCRIBERS AND DONORS.

Married for 25 years, Richard and Kay first met when Richard was a geologist and Kay was an industrial chemist. Kay took Richard to a hockey match and Richard repaid the favour by taking Kay to the ballet. While it may not seem an obvious match, the two have found great joy in ballet as well as art. They attended West Australian Ballet performances together for many years, but it was their admiration for Ivan Cavallari that led them to become subscribers and ultimately donors to the company.

Serendipitously, Richard and Kay were looking for a sculpture to place in their garden and in the late 80s, Kay spotted a picture of Greg James’ work in the West Australian. They contacted Greg who suggested they take a look at one of his works which had recently been donated to West

Australian Ballet (Spartacus ii 1988) – Richard and Kay loved the piece and asked Greg to create another for them, which now resides in their lush garden.

As for their preferences at the ballet? Richard loves the classical works and Kay is a fan of modern productions (she loves the quarry season!). Neither have specific training in the arts, which is hard to believe when they are able to fluently discuss numerous productions, dancers and companies (including national and international ballet companies), plus artists, sculptors and opera!

Richard and Kay speak glowingly of West Australian Ballet and the improvement in the company over the past few years. They particularly loved Daniel Roberts' work at the launch of Season 2015, describing the combination of live music onstage and the intricate choreography as the perfect ballet experience – where the musicians feature equally with the dancers onstage.

PATRON PROFIlE Richard Murphy and Kay Lee

Richard & Kay

Andrew Radak

“The kids put on a wonderful performance this arvo and the whole school turned up. Rebecca and Joel were sensational with the kids – very kind and supportive, at the same time expecting them to do their best and encouraging them all the way.” Teacher, Clarkson P.S.

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WHEN yOU WALK iNTO A cLASSROOM FULL OF STUDENTS WHO HAVE NEVER DANcED BEFORE, yOU’RE MET WiTH SOME FURROWED BROWS AND DiSiNTERESTED STARES. BUT AS SOON AS THE cHiLDREN GET UP AND START TO PLAcE THEiR FEET iN ‘FiRST POSiTiON’ AND HOLD THEiR ARMS iN ‘BRAS BAS’, THEy ARE iNSTANTLy FASciNATED TO SEE THEiR BODy MAKiNG SHAPES AND MOVEMENTS THEy’VE NEVER EXPERiENcED BEFORE.

The students are also surprised to experience how hard it is to lift their leg high in a ‘développé’, or complete a full ‘pirouette’. They begin to understand that not only are ballet dancers graceful and elegant, but they are also strong and powerful. By day three the children know positions one to five, as well as the French terminology for the basic ballet steps. i was rather chuffed when a student told me that an EDU Dance teacher exclaimed ‘that’s a good kick’ when she saw him practicing ballet and the student responded: ‘No! it’s a grand battement’.

Over five days we work towards a performance for the whole school. Students’ decide collectively on a theme and also contribute their own choreography to the piece. The creativity of the students is quite remarkable as they come up with some wonderfully impressive ballet moves.

The highlight of the week is the performance. The children are so nervous and there is always an anxious ‘i can’t do this’ from a couple of the students. Surprisingly, it is often the students who were disinterested on day one, that are the most excited to perform.

Teachers and parents alike stand with the rest of the school and look on in amazement. The performers are met with an eruption of applause from the audience and a look of relief and satisfaction comes over them. i noticed a particularly touching moment at the performance from Maylands Peninsular Primary School, when a teacher wiped a tear from her eye and shouted ‘BRAVO’ as her student’s took their bows.

By Executive Assistant & Philanthropy coordinator Alexandra cook

By Education coordinator Rebecca Sneddon

HAVING A CHANCE TO DANCE

Andrew Radak with eleanor

Bendat & laura machlin

Patron, Private GivinGMrs Alexandra Burt

Major BenefactorsBendat Family FoundationAngela BennettMinderoo FoundationWestracMichael J.M. Wright

Bravura Circle $10,000+Alex & Julian BurtMarilyn BurtonDorothy & Allan Smith Wesfamers ArtsWindsor Knight Pty LtdMary Ann WrightWright Burt FoundationAnonymous (1)

Directors Circle $5000+Susan BogleTim Bult & Lisa ChurchBux Family FoundationIan & Rosana CochraneMaureen ConnaughtonRoger & Christine DaviesDavson & Ward Pty LtdRobert EdwardesFriends of West Australian BalletCharles & Patricia GalluccioPatricia GatesJamelia Gubgub & David WallaceKennerlysThe Robert Kimpton Family John Langoulant AOGreg, Cathy, Rhonda & Andrea MeyerowitzJane & Jock MorrisonKay Lee & Richard MurphyPeggy & Mladen NinkovIngrid & Mark Puzey

Rella ConsultantsDave & Ros SmithStan Perron Charitable TrustClair & John StanleySimon & Alison TurnerJuerg & Elisabeth WeberHeather ZampattiAnonymous (1)

Choreographers Circle $2000+Helen AnsellNeil Archibald & Alan R. Dodge AMGreg & Anna BakerSally BurtonDon ConroyCarol ConleyBarry & Carole Crommelin OAMJohn & Gay CruickshankMrs S GillettDavid & Hannah GoldstoneDorothea Hansen-KnarhoiDennis & Margaretha Maltz and Mary ChengIn memory of Patricia ProtterBeth TownsendM & H TuiteGill & Jim WilliamsAnonymous (1)

Leading Artists Circle $1000+Michael & Sandy AnghieTom & Heather BannermanTony & Diana BeckTony & Mary BeeleyPeter BlaxellHelen BurkeRobert Cappellin & Carl FreedmanKatrina ChisholmMichael & Wendy DavisMario D’Orazio

Lesley DaviesJacinta & Michael EhlersJ. FairweatherMartyn FlahiveFriends of His Majesty’s TheatreKay GiorgettaPippa GreenPhilip HassettBrit & Edward HelgebyCatherine & Will HenwoodLeslie HutchinsonHeidi Kellner-MarshallDr Rob Kirk & Sarah GallinaghFrancis LandelsGaye & John McMathIn Memory of Anna MercerDr Andrew MilesPamela PlattMr Stuart StricklandSiobhan Vincent & AssociatesJoy WearneMargaret WhitterJanet WilliamsAnonymous (10)

Donors <$499152 Supporters

Kira Bousloff Bequest Circle

West Australian Ballet also graciously recognises those who have chosen to make a bequest or have left a legacy:

Ella Fry BequestDavid M SmithRosalind SmithOlive Wheeler-BrennanFreddi WilkinsonAnonymous (4)

Lorraine EllardOle & Gerie HansenOlive & Bill HenwoodHelen HollingsheadGill HollyNicky & Larry IfflaJim & Freda IrenicStephanie & John KobelkeRosalind LilleyJacqui & Peter Macliver Dr Karen McQuillanTony & Gillian MilneLynn MurrayCallum NeilLeanne O’MalleyAthena PatonFiona & Kurt SassenfeldJohn & Joy ShepherdDr Peter Simpson OAMIan & Helen Smith OAMKate SommervilleJan Stewart PSMRobyn TamkeRichard Tarala & Lyn Beazley AOGeeta Thakorial & Alan DayJohn & Soosie Thompson Rodney and Penelope ThompsonChristine & David ThorpeAlexandra WelchOlive Wheeler-BrennanWPO Perth Chapter

Artists Circle $500+Gavin BainShirley BarracloughC & K BrownlieMarie Leah CicchiniHelen CookKim & Valerie CottrellVictoria CousinsDavid CransonMichael Crossley

photo by Ashley de prazer

photo by Sergey pevnev

Dancers of West Australian Ballet. photo by emma fishwick

Craig lord-Sole with WAB dancers in la fille. photo by emma fishwick

15

OPENING NIGhT WRAPSGiselle

la Fille mal gardée

in May, Artistic Director, Aurelien Scannella and his wife, Ballet Mistress, Sandy Delasalle recreated the magic of the timeless classic, Giselle.

“As the final curtain dropped there was silence, before the theatre burst into applause. It wasn’t just the men under the spell of the Wilis – WA Ballet had audiences right in the palm of their hands.” – WA Today 10 May 2014

The French countryside was brought to life in Perth at His Majesty’s Theatre and the canberra Theatre centre, with the company’s 50’s inspired production of La Fille mal gardée.

“French-born Marc Ribaud brings an inexhaustible energy to the dramatic treatment of this simple story and his refined choreography – high-spirited village dances and antics, winsome duets – is captivating. The whole company was impressive, with fearless, crystal-sharp technique.” – The Australian

ANNUAl GIVINGWest Australian Ballet gratefully acknowledges the generous support of our donors, who enable us to bring exceptional dance experiences to our Western Australian communities.

Recognition of gifts received between 30 September 2013 and 30 September 2014.

ONlINE dONATION Making a gift has never been easier... simply go to waballet.com.au and follow the prompts.

Sergey pevnev & Sarah hepburn. photo by Ashley de prazer.

West Australian Ballet centre134 Whatley crescent, maylands WA 6051PO Box 604, maylands WA 6931T: (08) 9214 0707 F: (08) 9481 0710info@waballet.com.au waballet.com.au

lA FIllE cAmPIONE

AdUlT PUBlIc clASSES

Adult classical ballet and contemporary classes taught by leading Western Australian dancers take place Tuesday and Wednesday evenings at the West Australian Ballet centre. For fun and fitness, or to brush up your skills, classes are offered at all levels. Term enrolments and casual places available.

For bookings and/or further information for all events: visit waballet.com.au, email info@waballet.com.au, or call (08) 9214 0707.

mERchANdISE See the latest range of West Australian Ballet merchandise at waballet.com.au > shop

From ballerina necklaces to ornamental christmas decorations, there is something for every balletomane.

hAVE yOU dIScOVEREd WEST AUSTRAlIAN BAllET? Visit waballet.com.au for information on public classes, special events, merchandise and more!

WAB ‘campione’ donors gathered at the stunning ‘Mondrian-inspired’ home of Jamelia Gubgub and David Wallace on 30 June, to launch the campaign for La Fille mal gardée campione. Guests enjoyed champagne and canapés as they learnt about the creative inspiration for the authentic rural French set from designer Richard Roberts (who had flown in from Hong Kong), and Lyndell Darch (Head of Wardrobe) who regaled guests with her quest for the perfect fabrics for the 50’s vintage style costumes.

On 10 September, campione members were invited to celebrate together onstage at His Majesty’s, having jointly raised over $100,000 towards this new production. Guests were able walk amongst the completed set and costumes of La Fille and hear about the painstaking work that went into creating the production.

if you would like to be part of the 2015 coppélia campione, please contact Philanthropy Manager, catherine Henwood at chenwood@waballet.com.au or you can find further information at waballet.com.au >Support >Donate >campione.Admiring Richard Roberts’ set

Christine thorpe & heather Bannerman Tony & Diana Beck

pennie & Rodney thompson, mary Ann Wright & Richard Roberts

marilyn Burton, tony milne & Dorothea hansen-Knarhoi with jon Buswell’

janet Williams, pamela platt & guestSorel ewell & Sue Wenn

tony milne with Alan & Dorothy SmithSandy Anghie & jamelia gubgub