weekly evening adult ballet classes at the. WABc. Witnessing ..... WAB is proud to be hosting the Dance for Parkinson's
balletnews PATRON Her Excellency the Hon. Kerry Sanderson AO Governor of Western Australia PATRON, PRIVATE GIVING Mrs Alexandra Burt
SPRING 2015 Alison Lee: WA’s first international ballerina André Santos and Meg Parry: sharing their inspiration and love of dance Principal partner
A dancing life is a healthy life: top tips for better living
Steven Roth Chief Executive ‘Way back when’ I was studying conducting… my conducting professor and I would often discuss how to approach the interpretation of the ‘heritage’ repertoire in a contemporary world; particularly in relation to composers whose instruments pre-dated our modern versions. Bach, Haydn, Mozart and Beethoven, for example, had violinists playing on cat gut strings, the piano was a harpsichord or fortepiano, a timpani had real cow hide skin and so on… This meant that the sound heard in Beethoven’s time was quite different from the orchestral sound we hear today. My prof’s mantra was: ‘Steven: Conduct these works with the soul of the past but with the spirit of today.’ That resonated a lot for me, and it still does. The canon of classical works all have innate cultural and artistic value, and should continue to be heard. But we also have a responsibility to approach their interpretation in ways that will ‘speak’ to our contemporary audiences and make them relevant. This is also how we approach our strategic planning here at WAB. There is a large body of classical ballets that people want to see, but how best to represent them in the 21st century is something that is important to consider. One of the things that I believe really distinguishes WAB from the other ballet companies, is our willingness to take a bit of risk and bring you things that you won’t necessarily see elsewhere in Australia or around the world. This artistic and creative journey
ALEXANDRA BURT Patron, Private Giving
We have just completed our second five year strategic plan for WAB. And like my conducting mantra, we aim to honour the old, bringing a fresh approach wherever it is appropriate, as well as celebrating and commissioning the new. Our 2015–2020 Strategic Plan articulates the ambitions and dreams of the Company, as well as the challenges we will face over the next few years – not least being to continue to grow attendances in an ever-increasing entertainment market and competition from the home theatre (and the sofa!). Ensuring that WAB remains relevant and connected to all of our stakeholders: our audiences, our private donors, our corporate and government partners, and our communities, who all support us indirectly, is paramount. There will be many more highlights in store over the next few years, including new and exciting initiatives that harness the Company’s talent and energy. The Strategic Plan aims to deliver continued growth and – we hope – much success. Success is a shared achievement. We owe our success to all who support and encourage the enterprise that is West Australian Ballet. As ever, thank you! Steven
AURELIEN SCANNELLA Artistic Director We are living in a century where many things are set in stone – we think we know about and can control everything. But one thing we are far from understanding or controlling completely, is the human brain; the millions of different ways it functions and reacts. Front cover image: Meg & Andre. Photo by Sergey Pevnev
Sooner or later the medical arena will need to find new ways to relieve people where traditional medicines can’t help anymore. For some people it can be acupuncture, natural therapies, or sport. I personally believe that the Arts have the capability to literally save someone’s life and soul. It could be a song, a movie, or an opera. In my case ballet helped me to find my way in life. Being involved in a car accident at the age of seven, traditional medicine wasn’t able to help me to recover from my brain
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just a case of being able to prop oneself up in a chair and muddle on through in a bleary-eyed state of semi-conscious dysfunction. At the very least, a dancer has to be able to see and breathe properly. Unless he or she is performing a solo, the role of teamwork is central, whether in a class, a rehearsal or a performance. Expecting the rest of the team to trust someone who can’t see properly and may collapse at any moment is risky, even if everyone has noble intentions.
continues to inform our business planning and the direction of the Company. I’m sure you all have particular highlights from ballets over the past years that are still fresh in your memory and continue to ‘resonate’.
trauma. So a doctor surprisingly asked my mother to send me to ballet class! Unconsciously, ballet helped me to control my reactions and emotions, but it also helped my body to recover from threemonths of hospitalisation. Our General Dress Rehearsals are always attended by people from the community with physical and/or other disabilities. You would be amazed to see the way that the magic of ballet operates once the rehearsal starts. Everyone is suddenly quiet and focused on what’s happening on stage… no more pain, no more fears, no more tension in the auditorium.
Winter is synonymous with colds and flu; either one of them makes us feel miserable and it’s a simple yet vital reminder of just how important our health is. It’s also a good time to be in the tissues and cough lolly business! Although I’ve never really thought about it until now, dancers get their fair share of winter lurgies too. However, when your body is your primary instrument of gainful employment, the effect of any illness is often amplified. Returning to work is not
WAB’s health and wellbeing programme has become a core element of the dancers’ daily working environment. It includes daily physiotherapy and massage, weekly strength and conditioning classes, as well as individualised Pilates and rehabilitation. The dancers can even get assistance on any minor medical ailments such as cuts and blisters.
As you can imagine, the cost of providing this level of support is high. But then, so is the cost of not providing it. Included in WAB’s private giving programme is the option to direct part or all of your donation specifically to dancer wellbeing. It is a very rewarding avenue of support, knowing that you are helping to ‘keep the show on the road’ and I encourage you to give it some thought... perhaps as you are preparing to stave off the next cold! Wishing you all good health, Alex
FROM THE GREENROOM Welcome
Fond Farewells
New Arrivals
We welcome a new Young Artist to the Company, New Zealand born Vida Polakov, into the new role of Content Development and Publicity Officer, Tony Currie, and Anthea McCormick as Marketing Coordinator.
We bid farewell to Technical Director, Jon Buswell, who has moved to Melbourne to take up a new technical role with The Australian Ballet. Stage Production Manager, Jenna Boston, has moved over to our partner, West Australian Symphony Orchestra, and dancer, Leonardo Laurent Mancuso, has returned to his home, Milano.
Sponsorship and Communications Director, Sarah-Jane Emslie and partner Stephen Blundell have recently celebrated the arrival of their first child, a ‘bouncing’ baby boy, Harry Frederick Leslie.
We also welcome new WAB Chair, Dr Robert Edwardes and wish him well in this distinguished position (find out more about Dr Edwardes on page 16 in Ballet News).
Chair, John Langoulant AO retired in June from the Board of WAB. John joined the Company in 2004 and held the position of Deputy Chair from 2007 and Chair from 2012.
I think these are more than valid reasons to keep the Arts alive and in turn, our societies happy and healthy. With your help, WAB is able to continue its benefits to our communities for many years to come. Aurélien
For this reason, the underlying, long-term health of a dancer’s body is paramount. When sickness or injury strikes, they have to get back on their feet as quickly as possible, and a foundation of optimum health gives them the best chance of doing so.
Head of Dancer Wellbeing, Jenny Woods, gives a comprehensive run-down: ‘Our Head Medical Officer is Dr Mark De Cruz and our Physiotherapist, Victoria Simpson. Together, we all work closely to manage any injuries or sicknesses. We have a holistic approach whereby a dancer may be referred to other specialist areas including sports physicians, specialist consultants, a GP, dietician, podiatrist or psychologist as required. The artistic staff are also available for specialist coaching when required.’
Vida Polakov
Tony Currie Anthea McCormick
We wish them all well in their next adventures.
Gongs
Sarah-Jane Emslie and Harry Frederick Les lie
We congratulate Diana de Vos-Beck OAM, for her Medal of the Order of Australia in the recent Queen’s Birthday Honours. Diana danced with West Australian Ballet from 1958 to 1966 and has been a leading figure in the WA dance world, including as a Lecturer in Dance at WAAPA.
Diana de Vos-Beck
OAM
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in the spotlight
MEG PARRY:
she was called to join WAB’s Young Artist Programme, going on to dance prominent roles in her very first ‘Quarry’ season! A tremendous honour, but no surprise as talent is always rewarded.
By Demi-Soloist Christopher Hill
Leading by example
The decision to return to WAAPA was a sage one because now, coming full circle ten years later, Meg starred in the lead role as Swanhilda in the recent production of Coppélia.
Choosing to dance professionally is no easy task. Often we are reminded of the hardships that this career can present, the challenges to overcome and the sacrifices to be made. It takes a lot of determination and a healthy dose of 'I'll show you!' to succeed.
We all have that one special teacher who has given us something extra that we can take with us through our career and lives, often reflecting back to their lessons and using their words of wisdom to guide us in the tougher times. Meg often finds inspiration in the knowledge and belief that her particular mentor offered her. In turn, when Meg returns to her home town of Brisbane she will visit her former dance studio to inspire and share her knowledge with the next generation.
As I sit down to chat with Meg Parry, it quickly becomes evident that her career choice is the right one. This bright young dancer sure is showing us! Joining West Australian Ballet as an inaugural Young Artist, Meg has gone on to shine on stage and wow Western Australian ballet audiences with her unique blend of determination, artistry, musicality and power in both the classical and contemporary repertoire. Versatile, intelligent, fast learning and always impressive to watch, Meg draws upon her multi-disciplinary dance training to inform all of her artistic decisions. res. Photo by
ncers in Who Ca
Meg & WAB Da
er
Ashley de Praz
Taking a somewhat different route to joining a ballet company, halfway through her degree at WAAPA, Meg decided to give performing on cruise ships a go. What better way to see the world at the tender age of 18. Doing what she loves most and being paid to traverse the globe was an opportunity not to pass up. Whilst rewarding, the desire to finish her dance training at WAAPA ultimately drew her back to Perth. During her final year at WAAPA, Meg was chosen to perform with WAB for their season of Coppélia and within weeks of graduating Meg & Liam Green in Hold the Fourth. Photo by Sergey Pevnev
By Dancer Yi Li Law
SOUTH AMERICAN SPARK:
André Santos shines in WA and beyond. 4
Andre & WAB Dancers in Pe ter Pan. Photo bySergey Pevn ev
André Santos... a household name here at West Australian Ballet (WAB), André is an exceptional dancer and an allaround great guy. Not only is he a magnificently talented dancer, he is a brilliant choreographer as well, one who always brings out the best in his fellow dancers, both in and out of the studios. So who is André?
serious ballet training until he was eleven. Getting to ballet classes was not easy for André as he had to leave school early and travel at least two and a half hours each way by bus and train.
The youngest of four boys in his family, André grew up in the small town of Embu in São Paulo, Brazil. A very active child, he was always dancing, singing and talking. So, his Aunt suggested that he try out for some television commercials. At the audition, his mother met a ballerina's mother and decided that dance would also be a great outlet for André's endless energy. So, at the age of nine, André took his first dance class and he loved it. However, he didn't start
For more than five years, André endured this long travel to make it to ballet classes. His perseverance and dedication started paying off when he participated in the Youth America Grand Prix (YAGP), the largest international competition for aspiring young dancers, with the prize being a scholarship to one of the leading international dance schools. During the pre-selection process in Brazil, André caught the attention of the adjudicators, securing himself a spot in the
Similarly, Meg has been enriched by teaching weekly evening adult ballet classes at the WABC. Witnessing breakthrough moments when a triple pirouette is achieved, or when a particularly spectacular flying grand jeté is executed, makes it all worthwhile for both student and teacher. Meg seems to be happiest when in the studio as both dancer and teacher, which is why sharing her experiences and guiding others to find the joy of dance is extremely worthwhile and very humbling for her. We all love to dance. It is about having fun and pushing yourself beyond what you thought you could achieve that is always exhilarating. After a stellar 2014, culminating in a wellAndre with Crai Hepburn & Ro g Lord-Sole, Sarah bert Mills in Photo by Em La Fille. ma Fishwick
Meg & Matth
ew Lehmann
in Coppélia.
Photo by Serg
ey Pevnev
deserved promotion to Demi-Soloist for her strong yet nuanced portrayal as the Wicked Witch in Snow White last December, we are going to witness more and more great things from this inspiring dancer!
We acknowledge the tremendous support of The McCusker Charitable Foundation for providing the Young Artist Scholarship that set Meg on this path to success. Meg and many aspiring young artists following her have been given the keys to success through the generosity of individuals and foundations who provide ongoing funding for WAB’s important training and artist development programmes.
grand finals which took place in New York City. Through the kindness and generosity of some very caring mothers from his dance school and bank loans that his family would later struggle to repay, André headed to the Big Apple. A sixteen-year-old André, who had never left Brazil, took his first ever flight to New York City. It was at the YAGP that he was offered a full scholarship to the New Zealand School of Dance (NZSD). André, not speaking a word of English, then moved to Wellington to take up his place at the NZSD. During his second year at the NZSD, André danced with WAB in Youri Vamos' Romeo and Juliet, making such a
Andre in rehearsals for La Fille. Photo by Sergey Pevnev
great impression that he was offered a full time contract with the company shortly thereafter, where he has danced his way up the ranks and is now a Soloist. Whilst André loves dancing, he is also very passionate about music. Anything from Beyoncé to Jessie J to Ricky Martin. Songs you can dance to, songs you sing along with and songs that just move you. However, his favourite music comes from his love of musical theatre and the beautiful songs within those musicals. Wicked is his absolute favourite musical followed closely by Legally Blonde, Les Miserablés, Chicago, Rent, just to name a few. André can often be heard bursting into song and belting out his favourite tunes! As much as he likes singing, he’s not able to hold a tune. Thank goodness André decided to stick with dancing! Andre in Pinocchio. Photo by Jon Green
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By Ivan King Elsewhere in the same diary she observes: ‘It was surprising to find quite a number of boys who had been dancers in civilian life, and one boy was so enthusiastic that he jumped up and demonstrated a part from the man’s solo in Les Sylphides, which he had learned from the great choreographer, Fokine, during his visit to Australia with the de Basil Ballet Company.’ Peacetime found Lee once more ‘on tour’, this time as soloist and ballet mistress with the newly formed Borovansky Ballet. Life was obviously buzzing along! Photographs from the era show her as a resident of Sydney’s famous Merioola artists’ colony, living under the same roof as celebrated painters and designers, Justin O`Brien, Donald Friend, Loudon Sainthill, Arthur Fleischmann and Jocelyn Rickards.
REMEMBERING ALISON LEE Alison Lee at His
In December 1939 a ship berthed briefly in wartime Fremantle. On board were members of Col. W. de Basil`s Russian Ballet, a Company bypassing Perth and sailing to long seasons in our Eastern States' capitals. Among the dancers was young Western Australian, Helene Leneva, who was destined soon to perform in the world premiere of David Lichine`s Graduation Ball in Sydney’s original Theatre Royal: ‘Graduation Ball is a tremendous success’, she wrote in letters home. ‘Each week we rehearse for the next programme, starting each day with classes at 9am, followed by rehearsals until 12.30pm. Afternoons we work from 3pm until 5pm and then we are free until the evening performance. There are two matinees a week. It has meant hard work for all with three or four new ballets each week to rehearse.’ After a strenuous but exciting tour lasting eight months, Col.de Basil and his Company sailed away to America, leaving behind Helene Leneva. She instead boarded a train and travelled overland to her ailing father in Perth, discarded her Russianesque stage name and resumed life as Miss Alison Lee, ‘the well-known Western Australian dancer’. Born in WA in 1908, Alice Kathleen Lee began training at Linley Wilson`s School Of Dancing in 1926. As the State’s first true teacher of classical ballet, Wilson soon recognised Lee’s potential and featured her prominently in productions at His Majesty’s Theatre. Such was her talent that Alice – now Alison -- ran the School when Wilson spent all of 1935 in England. 1935 was also the year that Perth saw the inaugural visit of a representative from the Royal Academy of Dancing and Lee became the first person ever to pass four major RAD examinations in four days. She became, too, the first Australian to gain an Advanced Teachers Certificate. 6
By then she was creating works of her own, giving solo recitals at the Repertory Club, His Majesty’s Theatre and The Assembly Hall in Pier Street. In those ventures she was assisted by eminent photographer, Axel Poignant. A local resident at the time, Poignant lit her shows and used his camera to capture striking images of her in performance. It was he who arranged her audition for visiting American dance personality, La Meri. Study in Europe was La Meri’s advice. Determined to act on that advice, Lee leapt into 1937 with an ambitious savings plan. Money came from teaching, more from a series of talks she gave on ABC Wireless. All this, however, was gambled on a fund-raising Gala Farewell Recital at His Majesty’s Theatre. A diary entry states: ‘If I lose on it my London trip is off’. The event made a profit and she spent the next two years in London and Paris, learning from luminaries like Marie Rambert and Ninette de Valois and dancing in Massine’s Ballets Russes de Monte Carlo. In truth she was pirouetting her way into World War Two… Troops wait for a concert in New Guinea during WW2, 1945.
Majesty’s Theatre,
1935, photo by Ax
el Poignant
With the de Basil period over and done with, here in her hometown the artist formerly known as Helene Leneva, reopened her Studio and turned again to teaching and to solo recitals in The Assembly Hall. This was wartime however, so she enlisted in Army Intelligence, an occupation that sent her to Sydney in 1944. From there she and two Dutch dancers were despatched to the jungles of New Guinea to entertain the troops. Trekking from one makeshift stage to another, this chorus line of three did their patriotic duty and brought a flash of feminine glamour to our battle scarred, sex-starved ‘boys’ up North. As she wrote in her diary:
Here in the West, audiences saw her again in 1950, with the Australian National Ballet at the long gone Capitol Theatre in William Street. The following year she came to His Majesty`s Theatre, dancing the Thippa Thippa Bird in Corroboree; staged as part of the nation`s Jubilee Celebrations. This was to be a ground-breaking work set to John Antill’s haunting score and choreographed by Rex Reid, the future Artistic Director of West Australian Ballet.
e de e in “Clair Alison Le ken in 1950. ta la Lune”,
Alison Le e, courtesy photographed by Mitchell Li M brary, Sta ax Dupain c1940 , te Library of NSW.
In the following years, Lee enjoyed a long association with the Victorian Ballet Guild during which she produced dance works for television and created routines for the showgirls at the Tivoli. The Melbourne phase was interrupted in 1957 when she came back to Perth to teach and produce for Linley Wilson. While here she could be found at the Playhouse Theatre choreographing The Good Oil – Coralie Condon`s remarkable musical comedy inspired by the State’s then most recent boom; the one concerning oil shares!
we arrived unexpectedly ‘Our troubles began when es. In Wewak we were in areas with no theatr es of using the boxing taken to see the possibiliti feet above the ground r ring. Standing about fou ng turned into a stage. it was in the middle of bei with a dressing room at Built in on three sides curtains as a back cloth it the back and parachute ed. A suitable flooring ter couldn’t have been bet cian came to the fore was found and an electri of strong globes backed with footlights – a string the light on the stage. by tins cut down to throw marked out. Boxes, ady Reserved seats were alre er odd looking bits of tin cans, barrels and oth ting accommodation carpentry comprised sea incline for front stalls. on the rough and rocky pe of empty bottles, old sha Reserved tickets in the on paper placed on the boots, stones and names on the seats and were seats marked ownership morning. The unreserved placed there early in the ore 3 o/c [sic] carrying bef usually started arriving rels and spent the time their own boxes and bar playing cards, reading before the performance es of bully beef. When and eating their sandwich make up and dress we to ] we arrived at 6 o/c [sic the usual calls we got were greeted by cheers and y.’ so used to from the Arm
Alison Lee’s rich, colourful and adventurous career ended when she retired to her native soil in 1974 .She died a decade later but her memory lives on in a small but fabulous collection of memorabilia gifted to the Museum Of Performing Arts by her niece, Pamela Hesling. Ivan King is Curator of the Museum of Performing Arts at His Majesty’s Theatre. Alison Le e students (far left) as part . This Gre of a trio of ek House in the 1930 Dance took place Linley Wilson’s ’s. at Govern ment
rformed ramme, pe . oree prog 51 The Corrob ty's Theatre in 19 es at His Maj
Images courtesy of the WA Museum of Performing Arts.
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WAB ON TOUR: BALANCHINE ON THE BEACH
DANCING WITH THE STARS & UNDER THE STARS By Education and Access Manager Deborah Robertson and Education Officer Rebecca Sneddon
With support from our Principal Partner Woodside, each year the WAB education team heads north to Karratha to work in schools and with the local dance community. This year however, we got to do something entirely new.
On Saturday June 6, WAB played to a sell-out audience on the beach at Hearsons Cove in Karratha. A special curtain-raiser for the event involved 11 of the Pilbara’s best young dancers performing a work created for the evening by choreographer, Amy Wiseman. It was a stunning night under the stars in Karratha!
A very special opportunity was given to a number of young dancers from Karratha, to perform alongside WAB in a piece created specifically for them. After auditioning many hopefuls, 11 dancers (nine girls and two boys, aged 11 -15) were selected to work with Perth choreographer Amy Wiseman. Over a number of weekend rehearsals in Karratha, the group
set to work on a new ballet inspired by George Balanchine. The buzz in the rehearsal studio was extreme, the students could barely contain their excitement as they came to terms with the fact that they would not only perform in front of 800 people at Hearsons Cove, but would also get to meet the whole company. What a dream! On the night of the performance the children had butterflies in their stomachs and stars in their eyes as they practiced and prepared beside their idols. Under a canopy of stars the young dancers performed beautifully and were a triumph. Could we have seen a future star of West Australian Ballet?
m and dance follow my drea y da e on to I wish ved meeting the world. I lo nd ou ar ay w y m h Hepburn who especially Sara all the dancers e. My dad said d friendly to m at's a really was so kind an d is again an th th to go ld ou he w e WA Ballet to n't wait for th ca I g! in th g bi ha. – Sarah, 11 return to Karrat It has hone stly been a dream, to d on stage in ance front of mo re people th I co u ld ’v e an e v e r im a g in e d , in cl u WA Ballet, d in g is amazing. Meeting all dancers wa the s an incred ible experie they were nce, all extreme ly nice and took the tim they e to talk to us, wish us luck and sign good our shirts – Alex , 13
b e in g a th o u g h t what I I a lw a y s ancer was d l a n io ss profe now it's o, now I k d to d te n wa Lilly, 12 nt to do. – what I wa
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GREAT LEAPS! Have you heard about WAB’s Bankwest Great Leaps programme? Great Leaps memberships offer $10 tickets to WAB seasons, as well as other great opportunities, such as special workshops and masterclasses, and info about what’s on for young dancers at the West Australian Ballet Centre. Open to all students of dance schools. For more information see waballet.com.au > learn > great leaps 9
BALLET MAKES YOU HAPPY…AND WELL! By Education and Access Manager, Deborah Robertson
‘GAME READY’!
DANCE FOR PARKINSON’S – DANCE AGAINST DISEASE WAB is proud to be hosting the Dance for Parkinson’s programme at the WABC each Friday morning. Run in partnership with Parkinson’s WA and Ausdance WA, the programme gives people suffering from Parkinson’s Disease (and their carers) the opportunity to improve lifestyle and mobility. Dance provides exceptional benefits to health and wellbeing. Each class contains a range of dance styles for seated and standing movement, and carefully selected music accompanies each routine. ‘It emphasises dancing for dancing’s sake while addressing Parkinson’s specific concerns such as balance, flexibility, coordination, gait, social isolation and depression’ says Randy Baker, Parkinson’s WA Community Liaison Officer. Recently the group watched the WAB company dancers in morning class and all came away inspired and with big, beaming smiles. ‘My heart is full happy. At home I have to be so careful with how I move. Here I get to be so free.’ – Dance for Parkinson’s participant
By Customer Service Officer, Amanda Leigh
Thank you for supporting this important aspect of dancer health and assisting to keep our dancers ‘on their toes’!
Alcohol.Think Again Ambassador
13 years! I was a figure skater initially and my coach recommended that I do some ballet classes for flexibility and as they say the rest in history. I first danced professionally with The Australian Ballet in their Swan Lake season over seven years ago. Can you describe a day in the life of Polly? Although my alarm is set for 7am I usually get out of bed at 8am. I normally have a healthy breakfast and a coffee, giving me the needed kick to start the day. Before class at 10am I prepare with Pilates and occasionally a physio visit.
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We have also recently been able to purchase a second Cross Trainer to keep up with demand and to enable dancers to maintain their general fitness.
POLLY HILTON – How long have you been dancing and how did you get your start in the professional world of dance?
Polly Hilton
Katy Geertsen and Kim Hopkins with Ste wart West and Ann Bordoni. Pho to by Marcus Whisso n
After a full day of class and rehearsal I love to get home, put my feet up with a cup of tea and watch some Netflix. I try to head
Your gifts towards Dancer Health and Wellbeing have enabled a high-tech ‘Game Ready’ freezer blanket to be purchased for the Company. Head of Dancer Wellbeing, Jenny Woods notes: ‘This piece of equipment is the most effective treatment in decreasing pain and swelling post injury or operation. It helps accelerate and enhance recovery by using intermittent compression and cold therapy. The injured part is placed in a cuff which has circulating iced water and this is compressed at chosen intervals. It can be set to work during the night in the initial stages. The dancers who have used it have commented how effective it is and how much they appreciate it.’
out and catch up with friends a few times through the week. What are your key tips on staying healthy as a ballet dancer? • Drink as much water as you can – it’s always important to stay hydrated; • Exercise outside ballet class – keep up your cardio health; • Invest in a solid amount of sleep each night; and • Have a healthy work/life balance. An outdoors life helps keep everything in perspective and it’s easier to come back fresh the next day. Apart from dancing, what do you enjoy doing in your spare time? I love reading and going to the cinema to watch independent and art house films. On Sundays my boyfriend and I have started a tradition of spending the day
hopping between coffee shops in Fremantle and Mandurah. We love riding around and just seeing what places we can stumble upon.
Did you know that WAB offers a range of adult public classes? Whether you want to try something new for fun and fitness, or dust off an old pair of ballet shoes, there is a range of evening classes available for every ability level. All classes take place in our state of the art studios in Maylands and are taught by WAB dancers or other professionals. To find out more, visit waballet.com.au > learn > adult-dance-classes, or call our Education Team on 9214 0709 to find out more.
Andries Weidemann teaching Beginners Ballet.
Meg Pa rry Advance teaching d Ballet.
Dancing makes you SMARTER A 21-year study of senior citizens, 75 and older, was led by the Albert Einstein College of Medicine in New York City, funded by the National Institute on Aging, and published in the New England Journal of Medicine.
What does it mean to you, to be Healthway’s Alcohol.Think Again Ambassador? Education about alcohol is so important and as the ambassador I can join in sharing the message of Alcohol.Think Again with many people. As a dancer I have to keep my body in great condition and be aware of what affects my body and that includes the intake of alcohol. Many people don’t know or understand the negative effect that alcohol can have. As a result of the generous support of our sponsors such as Healthway, we are able to promote really important messages like Alcohol. Think Again and to stage wonderful productions, such as our season of Coppélia.
ADULT CLASSES - YOU TOO CAN DANCE WITH THE STARS!
% = Reduced Risk of Dementia
0% in Bicycling, swimming or playing golf 35% in Reading 47% in Doing crossword puzzles at least four days a week 76% in Dancing frequently
Dancing '. using 'Game Ready Alessio Scognomiglionev Pev gey Ser by Photo
• Reduces stress and depression • Increases energy and serotonin • Improves flexibility, strength, balance, endurance • Strengthens bones and boosts cardiovascular health • Increases mental capacity by exercising out cognitive processes • Dynamic and rapid-fire decision making creates new neural paths. 11
Coppélia Campione | Wednesday 18 June
patron profile Lejo Ouwendyk
The riverside home of Grant Young and Margy Hegney-Hall was the stunning setting for the launch of our Coppélia Campione campaign. Patrons enjoyed an exclusive opportunity to witness firsthand the creation of the Coppélia doll (dancer Sarah Hepburn) by make-up artist Natalie Way and Head of Wardrobe Lyndell Darch, and a special insight from Set Designer Hugh Colman.
By Philanthropy Manager Catherine Henwood
Making a Difference
Hepburn, nsky, Sarah Denise Stra Andre Santos , rd lfo Te Lisa n& Andrew & ew Lehman son, Matth Gillian John
Lejo Ouwendyk understands what a difference philanthropic support can make. In his role as Managing Director of Kennerlys, an awardwinning, boutique accounting firm in Perth, he has supported many local and international projects and causes, including building a 40-bed dormitory in Kenya for an orphanage. As accountants and advisors to many familyrun businesses and individuals in Perth and across the country, Lejo describes his team’s professional and philanthropic experience as enormously fulfilling, and the smiles of Kenyan children and adults that adorn the walls at Kennerlys are a heart-warming reminder of the positive impact philanthropy has on our communities.
bs, dison-Jaco Brooke Wid ux-Coléno, Diana de ro Florence Le a Culley AM & Gen Vos-Beck O
Aurélien Scan ne & Sarah Hepb lla urn
Growing up amongst jazz bands (an amateur jazz saxophonist at heart), Lejo has always believed in the importance of the arts. Like many, he feels an art-form like ballet not only plays a pivotal role in the wider arts and culture arena, but also brings a great degree of balance to our community.
Hepburn, pson, Sarah ggy Rodney Thom Georgiana Lilley, Pe lley, nson ki Rosalind Li m To y ar sem Ninkov & Ro
Linda Panizza, Rod & Sarah Hepburn
Gonzales
Jon Buswel
Thanks to the generosity of our Campione, over $100,000 has been raised towards the set and costumes for this beautiful new ballet; WAB’s second co-production with Queensland Ballet.
Ashleigh Bennett is one rising ballet star benefiting from Kennerlys’ co-sponsored Young Artist Programme. Ashleigh is able to immerse herself in the world of professional ballet for a year, working alongside West Australian Ballet dancers in classes and rehearsals, receiving invaluable stage opportunities and mentorship that provide a unique and nurturing experience in preparation for a professional dance career. This is a rare opportunity in the world of performing arts and it is only available with the generous support of our Young Artist
Ashleigh Bennett, with Lejo Ouwendyk
Programme sponsors, who share our belief in the importance of education, training and investment in the future of ballet. This philosophy resonates with Lejo, who believes that all businesses should be active in giving back to their communities. While it is easy to look to larger companies to do this, Kennerlys is making its mark through investment in young creative talent on a sustained basis and the Kennerlys team, their clients and partners can all feel proud of the difference they are making.
l & Hugh Co
lman
YOUR GENEROUS SUPPORT OF Young Artist training provides invaluable opportunities for Western Australia’s most talented young dancers to have a future career in ballet. The WAB Young Artist and Masterclass Programmes nurture and inspire the next generation of WAB ‘stars’.
nic & Matthew
Jim & Freda Ire
Lehmann
Steven Roth, Sandy Del asalle-Scannella, Aurélie n Scannella, Margy Heg ney-Hall, Grant Young, Marilyn Burton, Matthe w Lehmann, Pennie & Rodney Thompson
Vale
Errata
It was with sadness that WAB learned the news of the passing of long term supporter, Margaret O’Halloran. ‘Margie’ was an avid balletomane and passionate advocate for West Australian Ballet. She will be missed by all the Company.
You may have received a Coppélia brochure with an incorrect name or address. This was due to a computer glitch when syncing our mail list prior to post. Please accept our apologies for any inconvenience.
SPECIAL thanks to Lejo Ouwendyk of Kennerlys and Patricia Gates for co-sponsoring young artist Ashleigh Bennett and to Wesfarmers Arts, who proudly support Ben Obst.
Young Artist Snapshot
Benjamin Obst Ben, 23, is a driven, passionate and dedicated young man, who started dancing when he was 14, choosing to pursue ballet seriously at 16. Six years later, after opportunities with the Royal New Zealand Ballet and Queensland Ballet, this talented young dancer has fully immersed himself in the Young Artist Programme at WAB.
Leave a lasting legacy West Australian Ballet’s legacy fund is named after our founder, Mme. Kira Bousloff. Bequests and major gifts to this fund are used to provide for the future of West Australian Ballet. If you would like information about leaving a legacy, please contact Philanthropy Manager Catherine Henwood on (08) 9214 0707,
[email protected] or go to waballet.com.au > support > planned giving. 12
Lejo was first introduced to ballet through his wife Lisa and later their daughters, who are aspiring dancers. Lejo understands the dedication, intense training, and the physical and mental strength that ballet dancers require to succeed. Through his company's belief in education and training and 'giving youth a go,' he decided to support the Young Artist Programme at West Australian Ballet. With Kennerlys’ own corporate internship programme, this area of philanthropic support within the arts felt like a natural fit.
Larissa Fernandez, Ben Obst, Helen Wesfarmers Arts
Carroll,
From Hahndorf, SA, Ben discovered a passion for cooking whilst working alongside his Dad, who owned a chain of successful bakeries. By 14, Ben was more or less a fully-fledged baker, his speciality being quiches. During this time, he was also working alongside his
By Executive Assistant and Philanthropy Coordinator Taui Pinker
mother on her farm, where she taught dressage and cared for horses professionally. With a strong creative streak, Ben also began training in classical piano and voice (now being a freelance songwriter and DJ) as well as competing at a State level in tennis and football. Ben has even been sponsored by ASUS to play computer games competitively! Ben has achieved so much in such a short time. With his strong work ethic, tenacity and desire to achieve at the highest level, Benjamin Obst will surely go far. 13
ANNUAL GIVING
OPENING NIGHT WRAPS Embraceable You: A Celebration of Balanchine | May 2015 Who Cares. Photo by Sergey Pevnev
The first all-Balanchine programme for WAB excited and captivated our audiences in Perth and beyond. ‘As with all luxurious brands only those capable of doing justice to Balanchine’s work are allowed possession, and this company [WAB] has now become one of the favoured few.’ The Australian
Carina R
oberts a
nd Adam
Alzaim in
Concerto Barocco. Photo by Sergey Pevnev
Jayne Sm euld Photo by ers Tarantella. Sergey P evnev
Genesis | June 2015
Jessica Allison-Walker in e Culure è Napule. Photo by Emma Fishwick Adam Alzaim and Reika Sato in Void. Photo by Emma Fishwick
Another inspiring season of short works from WAB’s dancers was presented in the Wesfarmers Salle of the WABC in June - a rare opportunity to experience “…small moments of profound joy…” The Australian
West Australian Ballet gratefully acknowledges the generous support of our donors, who play a vital role in bringing exceptional performances to our Western Australian communities. IN RECOGNITION OF GIFTS RECEIVED BETWEEN 1 JULY 2014 AND 30 JUNE 2015
Patron, Private Giving Mrs Alexandra Burt Major Benefactors Bendat Family Foundation Angela Bennett Minderoo Foundation Westrac Michael J.M. Wright Bravura Circle $10,000+ Wesfarmers Arts Alex & Julian Burt Marilyn Burton Rella Consultants Gena Culley McCusker Charitable Foundation Wright Burt Foundation Charles & Patricia Galluccio Windsor Knight Pty Ltd Dorothy & Allan Smith Mary Ann Wright Anonymous (1) Director's Circle $5,000+ Susy Bogle Vaughan & Libby Burt Tim Bult & Lisa Church Bux Family Foundation Ian & Rosana Cochrane John & Gay Cruickshank Roger & Christine Davies Davson + Ward Pty Ltd Robert Edwardes Patricia Gates Eve Howell Kennerlys The Robert Kimpton Family John Langoulant AO Greg Meyerowitz Kay Lee & Richard Murphy Jane & Jock Morrison Marylyn New Peggy & Mladen Ninkov The Stan Perron Charitable Trust Ingrid & Mark Puzey David & Rosalind Smith Smith-Gander Family Richard Tarala & Lyn Beazley AO M & H Tuite Simon & Alison Turner David Wallace & Jamelia Gubgub Heather Zampatti
Jessica Allison-W alk Law, Andrew Ra er, Alexandre Dahms, Yi Li dak, Sarah Hepb urn Pevnev in When I Go. Photo by Em and Sergey ma Fishwick
Leading Artists' Circle $1,000+ Robert Aitken Elizabeth Allen Mike & Sandy Anghie Monique Atlas & Kim Hawkins Tom & Heather Bannerman Allan Barbarich Matthew J.C. Blampey Peter Blaxell Robert Branchi Helen Burke Christine & Kevin Cass-Ryall Marie Leah Cicchini Katrina Chisholm Helen Cook Lesley Davies Michael & Wendy Davis Rachelle Doyle Adam Durell Bev East Lorraine Ellard The Forrest Family Dr Robin Kirk & Sarah Gallinagh Kay Giorgetta Rod Gonzales Pippa Green Scott Griffin CJ Halvorson
Gerie & Ole Hansen Lyn & Andrew Harding Olive & Bill Henwood Helen Hollingshead Nicky & Laurence Iffla Jim & Freda Irenic Gillian & Stewart Johnson Carolyn Kidd Stephanie & John Kobelke Debra Reinecke & Stuart Le May Jacqui & Peter Macliver John Martin The Hon. Sheila McHale Dr Andrew Miles Lynn Murray Callum Neil Leanne O'Malley Linda Panizza Athena Paton Rosemary Pratt Satterley Property Group Pty Ltd H.E the Hon. Kerry Sanderson AO Howard & Lindsey Read Steven Roth Fiona & Kurt Sassenfeld Eve Shannon-Cullity Glenice Shephard Joy & John Shepherd Dr Peter Simpson OAM Ian & Helen Smith OAM Kate Sommerville Clair & John Stanley Robyn Tamke Geeta Thakorlal & Alan Day John & Soosie Thompson Rodney & Penelope Thompson Christine & David Thorpe Rosemary & Neil Tomkinson Beth Townsend Siobhan Vincent & Associates Diana Warnock AM Alexandra Welch Olive Wheeler-Brennan WPO Perth Chapter Anonymous (6) Artists' Circle $500+ Bradley Andrews Su Baker Peggy Barker B. Barrett-Lennard Shirley Barraclough John Barrington Lauren Brent C & K Brownlie Kim & Valerie Cottrell Mark Dawson J. Fairweather
Martyn Flahive Tracey Feakes Barry & Frieda Gibson Deidre Greenfeld Robin Groom Susan Grylls Karen Heagney Friends of His Majesty's Theatre Catherine & Will Henwood Peter Hodge Nicholas Kailis H.K.M. Francis Landels Megan Lowe Reinhardt Matisons Gaye & John McMath Dr Karen McQuillan In Loving Memory of Anna Mercer Susan Merritt Gregory Mogan Preben & Amy Nielsen Julie Norton Dr Frank O'Keeffe Pamela Platt Aurélien Scannella Mr Stuart Strickland Jayne & Jon Smeulders Dr Louise Smyth Denise Stransky Paul Underwood Helyn Verry-Baker Siobhan Vincent & Associates Joy Wearne Margaret Whitter Janet Williams Anonymous (7) Friends' Circle $75+ 195 Supporters Kira Bousloff Bequest Circle West Australian Ballet recognises those who have chosen to support the future of ballet through our planned giving programme. Ella Fry Bequest Andrew & Del McGuiness David & Rosalind Smith In memory of Colleen Clifford & Terry Ashton-Wood Olive Wheeler-Brennan Freddi Wilkinson Anonymous (4)
Jesse Holmes, Reika Sato and Matthew Lehmann in Nostalgia. Photo by Emma Fishwick
Online donation 14
Choreographers' Circle $2,000+ Helen Ansell Neil Archibald & Alan R. Dodge AM Tony & Diana Beck Tony & Mary Beeley Sally Burton Carol Conley Mrs S Gillett Rob Gillett Dorothea Hansen-Knarhoi Bernard Hart Gill Holly Dr Keith Holt Kevin Jackson Paul Jones & Clair Medhurst Lance Kerr Rosalind Lilley Dennis & Margaretha Maltz and Mary Cheng Tony & Gillian Milne Paul Naughton In memory of Patricia Protter Jan & Alan Stewart Lawrie Tremaine Juerg & Elisabeth Weber Friends of West Australian Ballet Jim & Gill Williams
Making a gift has never been easier... simply go to waballet.com.au and follow the prompts. 15
5
MINUTES WITH ROBERT EDWARDES What are you hoping to achieve as Chair of West Australian Ballet (WAB)?
A FEW SPECIAL VISITORS TO THE WABC Dockers players’ Tendai Mzungu and Garrick Ibbotson made a special visit to the WABC on Monday 29 June to pass on some footy tips to our ballerinos ahead of the Coppélia season. Updated to 19thC Handorf South Australia, the opening scene of Coppélia has the boys involved in a village footy match. In return our dancers gave the lads a quick lesson in foot work. Hopefully this will be a game changer for them in the finals season ahead!
To greatly expand the size of audiences coming to see innovative world class dance – both at home and abroad. I’m particularly interested in seeing more young people turning up and sharing news about the ‘cool experience’ with their friends on Facebook and Instagram. I also want to take the Company on tour to our Asian neighbours, including China, Korea, Singapore and maybe Myanmar. What exciting things do you see ahead for WAB? My hope is to create a reputation for the company and its dancers which has people coming to see every performance because they know the total experience will be wonderful, even if the titles are unfamiliar. To this end we want to work on upgrading the total customer experience, including before and after options that enhance the main event. We will also be considering new and different venues, attractive ballet merchandise, and increased access to the dancers. What was your attraction to WAB?
u & Garrick Tendai Mzung Members ny with Compa
u & Garrick Tendai Mzung WAB de tsi ou n tso Ibbo
Quite simply the sheer quality of the performances – sets, costumes, music and of course the dancers themselves are superb. The enthusiastic audience response to the Balanchine series was testimony to what this Company can now deliver – I don’t think I have ever experienced such theatre excitement on the opening night – whoops, whistles, cheering, foot stomping like I’ve never heard before! What interests do you hold in the Arts? My mother took me to my first ballet in Sydney when I was eight years old and I was hooked. This was a very long time ago and before The Australian Ballet was founded. In the early fifties the Australian company was the Borovansky Ballet and performed at the Sydney Town Hall. I loved it but suspect it was relatively amateurish. I certainly remember the sound of feet hitting the timber floorboards – so loud at times you could hardly hear the orchestra – but the whole experience appealed to me. Later in life I experienced ballets as diverse as The Nutcracker in Seattle and the Royal Ballet performing Swan Lake in Albert Hall. Probably my most treasured memory was seeing a one night only performance by Dame Margot Fonteyn and Rudolph Nureyev at the Sydney Elizabethan Theatre in the early sixties.
Tendai Mzungu & Ga Ibbotson enjoying rrick a fitting with Lynde costume ll Darch
ndai lle teaching Te Sandy Delasa rah Hepburn Sa t Mzungu to lif
On Friday 22 May, WA Premier The Hon. Colin Barnett took some time out of his busy schedule to make a visit to the WABC and meet the company. It is the first time he has had the opportunity to see the WABC in full swing since cutting the ribbon at the opening in April 2012.
What are your personal passions for the Arts? At the age of 15 I had to choose between a career of music (my mother’s preference) or engineering (following my dad’s example). I had been learning the classical clarinet for over 5 years and had become very proficient. After auditioning and being accepted into the Sydney Conservatorium the debate commenced at home, with my father ultimately prevailing. Who knows where my life might have led me if my mother had won out! In any event I have a deep love of music of all kinds, with an unexpected penchant for country and western. My wife and I travelled with my best friend to Nashville recently to celebrate a milestone birthday together and it was a truly great experience. My eldest daughter Claire went on to make a career out of music and is now regarded as Australia’s pre-eminent orchestral percussionist. She visited recently and performed a concerto with WAYO at the Perth Concert Hall to critical acclaim. For me the arts are a fundamental ingredient in life. So let me finish with a particularly relevant quote from Maria Shriver: ‘Art is fundamental, unique to each of us…even in difficult economic times - especially in difficult economic times - the arts are essential’. Dr Robert Edwardes is Executive Vice President, Development at Woodside and the new Chair of West Australian Ballet. 16
Ibbotson
Premier and dancers at
WABC 22 May 2015
134 Whatley Crescent, Maylands WA 6051 PO Box 604, Maylands WA 6931 T: (08) 9214 0707 F: (08) 9481 0710
[email protected] waballet.com.au
