A N N UA L REPORT 2O18
Australian Dance Theatre respectfully acknowledges the traditional lands of Kaurna people and we pay respect to their spiritual relationship with their Country. We also acknowledge the Kaurna people as the traditional custodians of the Adelaide region and that their cultural and heritage beliefs are still as important to the living Kaurna people today.
CONTENTS 2. Chair’s Report
30. International Centre for Choreography
4. Artistic Director’s Report
34. Reach & Statistics
6. Executive Director’s Report
36. Awards & Media
9 - 10. The Company
40 - 46. Performance against goals
13 - 18. Productions
48. Corporate Governance Statement
20. Other activities
23 - 24. Adelaide Dance Festival
51 - 52. Company Directors
27 - 28. Learning Program
53. Financial Report
CHAIR’S REPORT KIM BOEHM 2018 was a good year for ADT. Garry Stewart’s newest work, The Beginning of Nature, toured Australia and Europe and was warmly received by audiences and critics. The company’s performances of Tanja Liedtke’s construct in the 3rd Tanzbiennale in Heidelberg was a very special night for us and for Tanja’s parents, Kurt and Gerlinde, who made these performances possible and who are such generous supporters of ADT. The inaugural Adelaide Dance Festival, which ADT conceived, organised and produced, was a big success and a great celebration of dance. The official opening of the refurbished Odeon Theatre by The Governor of South Australia, His Excellency the Honourable Hieu Van Le AC, was a wonderful evening and an occasion of great significance to the company.
I would also like to sincerely thank all of our funding partners and sponsors. We are grateful for your support which we never take for granted. My thanks to the South Australian Government through Arts South Australia, the Australian Government through Australia Council for the Arts, Adelaide Airport, SA Power Networks, Novatech Creative Event Technology, the Tanja Liedtke Foundation, Henschke, Enoki and National Storage. Finally, I would like to express my gratitude to my ADT board colleagues who give their expertise and time to ADT for no other reason than their desire to help the company do well. Thank you sincerely to David Stobbe, Jeff Meiners, Peter Seltsikas, Anita Ewing, Georgina McGuiness, Tricia Walton, Ruth Rentschler, Chloe Benton, Deborah Kingsbury and Nathan Bennett.
In this annual report you will read more about these and other events that made 2018 a year the company can be well pleased about. On behalf of the board of ADT, I would like to convey my thanks to ADT’s management, staff and dancers for their talent, commitment, perseverance, perfectionism and incredible work ethic. It is a joy to be involved with such a special group of people.
KIM BOEHM CHAIR
I would like to make special mention of Shaun Comerford, who left us in October 2018 at the end of his three-year term as Executive Director. Shaun did an outstanding job while he was with ADT and we are stronger today because of his contribution. The very difficult task of replacing Shaun was made easy when Eira Swaine, who had been with the company for four years in the role of Producer & Development Manager agreed to step into the ED role. Eira has made an immediate impact and we are fortunate to have her leading the company alongside our accomplished Artistic Director, Garry Stewart. They are a formidable team.
ARTISTIC DIRECTORâ&#x20AC;&#x2122;S REPORT G A R RY S T E WA R T
To say that 2018 was an enormous year for ADT is an understatement. Apart from the usual demands of our artistic program we also produced the inaugural Adelaide Dance Festival which was an enormous and thrilling undertaking. The concept for the Festival came out of our dance sector meetings held over the previous 18-month period, and forms part of an overall strategy on behalf of the company to invigorate the local dance sector and to provide pathways toward the creation and production of new dance in Adelaide.
double bill created by myself in collaboration with esteemed Norwegian choreographer Ina Christel Johannessen. Ina will create a work (North) that references the Arctic Circle, and my work (South) refers primarily to the British/Australian explorer Douglas Mawson and his ill-fated journey to Antarctica in 1912. Both works are a commentary on climate change and the despoliation of the polar regions of the planet as we struggle to come to terms with the environmental and social impacts of global warming.
The Festival was presented across two weeks in July and featured a program of exceptional and diverse performances including our own production The Beginning of Nature, The Sleeping Beauty by the Australian Ballet, The Spinners by Lina Limosani, the extraordinary children’s show Rainbow Vomit by Dancenorth and an other-worldly performance installation, Creatures by Alison Currie. ADT commissioned three Adelaide-based choreographers to create The Cubic Museum at the South Australian Museum which involved performances in a large, bespoke Perspex cube. Our Festival also coincided with the Adelaide Festival of Ideas which we participated in by presenting an artist’s discussion panel focussed on the intersection of art and nature. Other events included Panpapanpalya Joint Dance Congress which involved 800 national and international delegates and FLOW: Dance on Film at the Mercury Cinema. We also produced Freestyle Session – the Australian heat of an international breaking competition where the winners were subsequently flown to the grand final in Los Angeles as well as a number of free community events such as various dance classes and Dancing Room.
We fulfilled our commitment to supporting the independent dance sector through our International Centre of Choreography, which was established in 2018. Under the aegis of the ICC, we were able to conduct workshops, host artists through residencies, and support various artists who were later able to present works in Rough Draft, through international touring and secure seasons in the 2019 Adelaide Fringe.
Some of the other performance highlights of the year included touring our new work The Beginning of Nature to the beautiful DeLaMar Theatre in Amsterdam followed by a two-month Australian tour and a eight-week tour of Europe. For us, this work is particularly special as it features Kaurna - the language of the First Nations Peoples of the Adelaide Plains where ADT is based. The language is sung by two Sopranos in a libretto developed by Indigenous cultural leader Jack Buckskin in collaboration with myself and our composer, Brendan Woithe. It was an incredibly rewarding experience working with Jack, who is one of the only people who speak Kaurna fluently. It is an honour to play some small part in the revitalisation of this language that was all but destroyed by the ravages of colonisation. We were also honoured to perform Tanja Liedtke’s ingenious and insightful work, construct at the Tanzbiennale in Heidelberg, Germany. It was the first-time construct has been performed in the country of Tanja’s birth. We want to thank her parents Kurt and Gerlinde Liedtke for their generous support through the Tanja Liedtke Foundation. construct received a rapturous audience response in Heidelberg as it does where-ever it is performed. Other performances by the company included two stunning solo works choreographed and danced by company dancers Zoë Dunwoodie and Matte Roffe, performed to Bach cello suites played live by one of the world’s leading cellists, Berlin-based Nicholas Alstaedt. These performances took place at Ukaria Cultural Centre in the rustic setting of the Adelaide Hills. The company also performed an excerpt from The Beginning of Nature at the Adelaide Festival Centre’s Walk of Fame Gala. It was an honour for me to be accorded a star on the new Walk of Fame which is a component of the redevelopment of the Adelaide Festival Centre. Former ADT Artistic Directors Leigh Warren, Meryl Tankard and Founding Artistic Director Elizabeth Cameron Dalman OAM also received a star on the Walk of Fame. Last year encompassed a development period for our new production North/South which will premiere in September 2019. This work is a
I was extremely fortunate to be awarded a Churchill Fellowship which permitted me travel to seven international cities in order to compare and contrast the structure and function of seven leading choreographic centres. This seven-week journey to six countries afforded me an opportunity to witness the work of some of the world’s leading choreographic centres. It provided me with an invaluable insight into the manifold ways in which these structures can engage with and support choreographers and dancers through a vast range of initiatives. This support from the Winston Churchill Memorial Trust will assist us greatly in developing our ICC as well as opening the door to an international network of like-minded organisations and artists. The dancers were fortunate enough to work with Sydney-based visual artist and photographer Tamara Dean. As a subset of The Nature Series, Tamara created a series of stunning photographs on our dancers set in nature titled In Our Nature. Photographed in the Adelaide Botanical Gardens, In Our Nature was exhibited in the Adelaide Biennale at the Art Gallery of South Australia and also at Martin Browne Contemporary in Sydney. Another component of The Nature Series, is a short film we shot in October titled The Circadian Cycle. For this film we took elements of the choreography from The Beginning of Nature and filmed it in various locations in nature around South Australia. The Circadian Cycle was commissioned by the Adelaide Festival Centre, Adelaide Airport and the South Australian Film Commission. It will premiere in mid 2019. In 2018 we were sad to say goodbye to our friend and colleague Elizabeth Old who was the company’s Associate Artistic Director and my right hand for 11 years. Elizabeth came to us from Rambert Dance Company possessing a wealth of experience, although we first met when we danced together in ADT in 1986 – a lifetime ago! Elizabeth made an enormous contribution to ADT during her time with us and we are indebted to her for this. All of us at ADT wish Elizabeth much happiness in her new role as Lecturer in the Department of Creative Industries at the Queensland University of Technology in Brisbane. We also said goodbye to Shaun Comerford, our former Executive Director and welcomed Eira Swaine into this role – formerly the company Producer & Development Manager. I look forward to working closely with Eira and the rest of the team on a stellar 2019.
EXECUTIVE DIRECTORâ&#x20AC;&#x2122;S REPORT E I R A S WA I N E
2018 was a defining year for Australian Dance Theatre, with our move to The Odeon theatre, producing the inaugural Adelaide Dance Festival, and undertaking large national and international tours.
Duty Technician in creating a professional and vibrant experience for our theatre patrons and artists who have presented at The Odeon throughout the year.
After 15 years at our studios in Hawthorn, we moved into our new home at The Odeon in the vibrant inner-city suburb of Norwood. This followed a number of months of extensive renovations to transform this historic Adelaide theatre into a new centre for dance and the performing arts. We are extremely proud of our new home, which includes a 220-seat theatre as well as a second studio space, and accommodates not only ADT but also provides rehearsal space for other dance artists and creatives. I would like to thank our partner Enoki for their beautiful design work to transform The Odeon into a beautiful and inspiring creative space, Acromat for the support in installing our retractable seating system as well as former Executive Director, Shaun Comerford and Operations Manager, Paul Cowley, who made this move and renovations possible.
Our move to The Odeon has enabled us to reach new audiences and engage with our patrons, donors and sponsors in new and exciting ways. Importantly, we have been able to diversify our income stream through theatre hires, hosting seasons by State Theatre Company, the Adelaide Festival, and OzAsia Festival as well as a number of smaller performing arts groups during 2018.
In July we produced the inaugural Adelaide Dance Festival, which was attended by almost 24,000 people across two weeks. The program featured world-class performances, workshops, installations, discussions and masterclasses and we were delighted to bring together a number of other dance organisations and cultural institutions to connect with new audiences and bring dance to a wider community. I would like to thank Arts SA, the City of Adelaide, Channel 9, the Adelaide Festival Centre, Freerange Future, the South Australian Museum, LWDance Hub, Restless Dance Theatre, the Adelaide Festival of Ideas and all the artists involved for their enthusiasm and support for this initiative. We are working towards making this a biennial festival, and look forward to continuing to build on the success of this first festival in 2020.
I would like to take this opportunity to thank our corporate partners – Adelaide Airport, SA Power Networks, Novatech, and Henschke – for their ongoing support of ADT to fulfil our vision to be leaders in dance and connect with a wide audience.
Our regional tour of The Beginning of Nature visited almost all Australian States and Territories, sharing this extraordinary work with more than 6000 people in metropolitan, regional and remote areas. ADT has long been renowned as a cultural ambassador for Australia, having performed to over 250,000 worldwide since 2001. In 2018, we undertook two European tours during which we performed to audiences across The Netherlands, Belgium and Germany with the support of the Australian Government through the Australia Council for the Arts and the South Australian Government through Arts SA. Our performances in Germany and The Netherlands were attended by Australian Embassy officials and their guests, highlighting the important role that we can play in soft diplomacy through our international touring. In December we were invited to perform The Beginning of Nature as part of December Dance at Concertgebouw, Brugge, as part of their Australian-focussed season, and we were delighted to represent South Australia amongst the group of other outstanding artists who featured in the program. Over the course of the year we continued to deliver our Learning Program, delivering 30 workshops to over 650 students in Adelaide and regional Australia. We have worked across the year to increase our engagement with local schools, inviting them to attend Open Rehearsals at The Odeon. We were delighted to deepen our connection with regional schools, with one school travelling all the way from Mount Gambier to experience a morning with ADT dancers. The move to The Odeon has also provided us with more opportunities to support the local dance sector, and with the support of the Tanja Liedtke Foundation we have provided 66 sessions of free space to independent artists in both the Tanja Liedtke Studio and the main theatre across 2018. We welcomed two new staff members to our core team, with Tamara Wheeler joining us as Venue and Program Coordinator and Sarah-Jayne Howard commencing as Associate Artistic Director. We have also built a small casual Front of House team who join our
We welcomed Henschke as our inaugural wine bar sponsor, and we have hosted events for our fantastic corporate partners in the theatre and refurbished foyer. We are incredibly fortunate to be able to work with our partners on some bespoke and creative projects that support our shared goals, and in 2018 we created three “stretch before you fly” videos with Adelaide Airport that will premiere in 2019.
We are also fortunate to have welcomed the Tanja Liedtke Foundation as a funding partner who has supported the ADT International Centre for Choreography and the work that we are doing to create new opportunities for independent dancers and choreographers in South Australia and nationally. Our second studio space has been named in Tanja’s honour and is a daily reminder to us all about the power of the arts to transform and inspire. Thank you also to our donors who have supported us through our Take Your Seat campaign and individual donations - you continue to humble us with your heartfelt contributions to the company. Thank you to our core funding bodies, the South Australian Government through Arts SA and the Australian Government through the Australia Council for the arts, for supporting us to create and perform work to our hometown audiences and then share it on the world-stage. I would like to thank my predecessor, Shaun Comerford, for successfully transitioning the company to our new home and paving the way for new and exciting opportunities for the company, and I wish him all the very best in his new endeavours. And finally, I would like to thank the passionate and talented team at ADT – 2018 was an extraordinarily busy year for the company which heralded changes and challenges, and it required an enormous amount of hard work and long hours to achieve all that we did. The efforts of everyone never go unnoticed and I am so proud to work with such a dedicated group. I look forward to seeing what 2019 holds as we celebrate the 20th anniversary of Garry Stewart as our Artistic Director. Garry’s contribution to this company is one of the great stories of Australian dance and I am privileged to be able to work alongside him and our incredible ensemble of dancers to continue to build on the company’s
> THE COMPANY
BOARD OF DIRECTORS
Kim Boehm, Chair Nathan Bennett (commenced July 2018) Chloé Benton Anita Ewing Deborah Kingsbury (commenced February 2018) Georgina McGuinness Jeff Meiners Ruth Rentschler Peter Seltsikas David Stobbe Tricia Walton
Artistic Director, Garry Stewart Executive Director, Shaun Comerford (resigned September 2018) Executive Director, Eira Swaine (commenced September 2018) Production & Operations Manager, Paul Cowley Associate Artistic Director, Elizabeth Old (resigned February 2018) Associate Artistic Director, Sarah-Jayne Howard (commenced April 2018) Finance Manager & Company Secretary, Bev Majda Producer & Development Manager, Eira Swaine (until September 2018) Marketing Coordinator, Madison Thomas Production Administrator & Stage Manager, Lucie Balsamo Venue & Program Coordinator, Tamara Wheeler (commenced January 2018) Odeon Technician, Johnathon Edwards Stage Manager, Françoise Piron International Producer, Niels Gamm North America Agent, Kristopher McDowell (KMP Artists)
Jana Castillo Zoë Dunwoodie Harrison Elliott Thomas Fonua Christopher Mills Gabrielle Nankivell Matte Roffe Rowan Rossi Kimball Wong
Marlo Benjamin Sophie Carter Jessica Hesketh Daniel Jaber
(construct by Tanja Liedtke - European touring) (South creative development) (Partnership with Cunard promotional film) (Partnership with Cunard promotional film, South Creative Development) Tara Jade Samaya (Partnership with Cunard promotional film) Breanna Timms (The Beginning of Nature European tour) (Partnership with Cunard promotional film, The Kialea-Nadine Williams Beginning of Nature, Netherlands, The Beginning of Nature Walk of Fame Gala (Adelaide)).
CONTRACT ARTISTS/CREATIVES Ina Christel Johannessen (North) Vincent ‘Jack’ Buckskin (Culture & Language Consultant, The Beginning of Nature) Paul White (Rehearsal Director, construct by Tanja Liedtke) Kristina Chan (Rehearsal Director, construct by Tanja Liedtke) Tobiah Booth-Remmers Karen Cummings (Singer, The Beginning of Nature) Shauntai Batzke (Singer, The Beginning of Nature) Louise Beaston (Musician, The Beginning of Nature) Sarah Belkner (Sound) Linda Garrett (Musician, The Beginning of Nature) Georgia Hall (Singer, The Beginning of Nature)
Tyson Hopprich - DJ TR!P Carollyn Kavanagh (Graphic Designer) Ruth Little (Dramaturg, South) Emma Perkins (Musician, The Beginning of Nature) Heru Pinkasova (Singer, The Beginning of Nature) Heather Stratfold (Musician, The Beginning of Nature) Wendy Todd (Designer, North/South) Carol Young (Singing Coach, The Beginning of Nature) The Zephyr Quartet (The Beginning of Nature) Damien Cooper - The Yellow Agency (Lighting Design) Brendan Woithe - KLANG Music Sound Ideas (Composer)
PRODUCTION CONTRACTORS Johnathon Edwards David Gallasch Jonathan Hindmarsh Frerich Komp Françoise Piron Alexander Ramsay Oliver Taylor Lachlan Turner Daniel Voss Michael Wickens
Sarah Belkner Cornelia Beresford Davis Browne Design Katrina Lucas Seana O’Brien Chris Petridis Run Wild Productions Raphael Rivera-Brown (volunteer) Marshall Teale
ADELAIDE DANCE FESTIVAL Erin Fowler (Choreographer/performer, The Cubic Museum) Lewis Major (Choreographer/performer, The Cubic Museum) Joanne Stone (Choreographer/performer, The Cubic Museum) Mary Allyson Chymz Angeles (Dance Class Teacher) Jessica Dâ&#x20AC;&#x2122;Angelo (Dance Class Teacher) Cabinet Noir (Judge/sponsor, Freestyle Session) Alan Dang (Judge, Freestyle Session) Carlos Pepita Estigarribia (Judge, Freestyle Session) David Cracker (DJ) Julie Gough (Panel speaker, The Art of Nature) Susan Grey-Gardinar (Lighting Design for CM) Victoria Hunt (Panel speaker, The Art of Nature) Rohan McAlinden (DJ) Carmen Nixon (Video producer, The Cubic Museum) David Tang - Red Fox Films (Videographer) Poe One (Judge/sponsor/organiser/host, Freestyle Session) Alison Robb (Organiser/instructor, Mindfulness in Motion)
Zeus Rock (FSS) Carmen Torrejon Tanya Voges (Dance Class Teacher) Wendy Todd (Designer, The Cubic Museum) Freerange Future (Graphic Designers/Brand Development) Meaghan Coles - Now and Then Photography (Photographer)
PRODUCTION Johnathon Edwards Jordan Hart Alexander Hatchard Brenton Jordans Frerich Komp Saeesha Krishnan Danielle Mullins Michele Reichstein Jordan Scheer Darian Tregenza
DANCE CLASS TEACHERS COMPANY CLASS
Sarah-Jayne Howard (Contemporary) Christie Anderson Janet Bridgman (Ballet) Chylie Cooper (Ballet) Michael Getman ilDance (Contemporary) Niv Marinberg Gabrielle Nankivelle (Contemporary) Poe One (Breaking) Yogafusion (Yoga) Simi Roche (Yoga) Maura Vergara (Yoga) Catherine Wells (Ballet)
Harrison Elliott Christopher Mills Kialea-Nadine Williams Mary Allyson Chymz Angeles Liana Barletta Lana Barone Tobiah Booth-Remmers Anthony Bridgman Janet Bridgman Chylie Cooper Courteney Cox Ruby Dolman Erin Fowler Lulu Lafaele Diane Malet
Lewis Major Eliza Payze Tanya Voges Carol Wellman Kelly
YOUTH ENSEMBLE Kialea-Nadine Williams Tobiah Booth-Remmers Paulo Castro Lewis Major Gala Moody Joanne Stone
IN-SCHOOL WORKSHOPS Carlie Angel (Teaching Artist) Katrina Lazaroff (Teaching Artist)
THE ODEON DESIGN/REFURBISHMENT
Enoki Pty Ltd (Designers) Johnathon Edwards Mark Finch Alexander Hatchard Brenton Jordans Darian Tregenza Timothy Willett
Lana Barone Edward Callen Johnathon Edwards Jordan Hart Alexander Hatchard Saeesha Krishnan Saskia McGrane
Lucy Mitchell Aspen Palmer Jackson Price Jordan Scheer Natalia Sledz James Smith
CONTRACTORS (OTHER) Closer Productions Rebekah Devlin (Publicist) Michael Heynen - Mitcham Rehab (Physiotherapist) Daniel Gibbs - Posture Podiatry (Podiatrist) Chris Herzfeld - Camlight Productions (Photographer)
Georgina McGuinness - McGuinness Media (Publicist) Novatech Creative Event Technology PKF Adelaide - Chartered Accountants Seb Szocinski, Rockethouse (Web hosting/maintenance)
NORTH/SOUTH North/South is a choreographic collaboration between ADT’s Artistic Director Garry Stewart and celebrated Norwegian choreographer, Ina Christel Johannessen. Responding to the polar regions of our planet – the Arctic Circle and Antarctica – North/South is an extraordinary double bill exploring universal human and environmental issues from contrasting positions of the northern and southern hemispheres. Ina Christel Johannessen’s North sees a collection of characters trapped in a shelter amidst an Arctic blizzard. When humans seek refuge in an enclosed space how is their behaviour shaped when lethal weather forces rage all around them? As an artist living and working in the Arctic Circle, Johannessen has witnessed first-hand the rapid changes wrought by global warming and it’s emotional and psychological impacts on the people that live there. North explores the intimate and powerful exchange that plays out between humans and their environment. Garry Stewart’s South depicts Sir Douglas Mawson’s fateful and dramatic journey to Antarctica as an allegory for our current predicament in the era of rapid global warming. Travelling from Adelaide to the Southern Continent in 1913, Mawson’s story is one of loss and vulnerability in an alien and forbidding landscape. Premiering in 2019, this exciting development sees two legendary contemporary choreographers united to create a powerful new work of tragedy, loss and emotion.
North Conceived and Directed – Ina Christel Johannessen Choreography - Ina Christel Johannessen Composer – Koenraad Ecker Lighting Designer – Damien Cooper Designer – Wendy Todd
South Conceived and Directed – Garry Stewart Choreography - Garry Stewart with the dancers of Australian Dance Theatre Composer - Brendan Woithe (KLANG) Dramaturgy – Ruth Little Lighting Designer – Damien Cooper Designer – Wendy Todd
NATIONAL & INTERNATIONAL TOUR
THE BEGINNING OF NATURE “It is poetic, elemental, ritualistic, and even operatic in the intense theatricality that pervades it’” - CANBERRA TIMES Weaving together music and astonishingly powerful contemporary dance, The Beginning of Nature is a compelling and ritualistic work. Exploring life cycles and themes of metamorphosis and transformation within nature, the spell-binding score combines electronica, strings and a libretto sung in Kaurna language, the first language of the Adelaide Plains. The first iteration was performed at WOMADelaide in 2016. In 2018, the final work saw significant national and international touring, enjoying sold-out performances and astounding audience and critical acclaim. The year began with the European Premiere season at the prestigious DeLaMar Theatre in Amsterdam, followed by an Australian national tour, ending the year with an 8-week European tour. CREDITS Conceived and Directed - Garry Stewart Assistant to Garry Stewart – Sarah-Jayne Howard & Elizabeth Old (DeLaMar Theater season) Choreography - Garry Stewart and the dancers of Australian Dance Theatre Lighting Designer – Damien Cooper Composer - Brendan Woithe (KLANG) Costume Design - Davis Browne Indigenous Language & Culture Consultant – Jack Buckskin Technical Director – Paul Cowley Stage Managers – Lucie Balsamo & Françoise Piron Company Manager and Technical Translator – Freddy Komp Head Lighting – Daniel Voss NATIONAL TOUR (JUNE - AUG) Canberra (ACT) – Canberra Theatre Centre Wyong (NSW) – The Art House Dubbo (NSW) - Dubbo Regional Theatre and Convention Centre Wollongong (NSW) – Illawarra Performing Arts Centre, IMB Theatre Adelaide (SA) – Adelaide Festival Centre, Dunstan Playhouse Renmark (SA) – Chaffey Theatre Hobart (TAS) - Theatre Royal Alice Springs (NT) - Araluen Arts Centre Darwin (NT) – Darwin Entertainment Centre Katherine (NT) – Godinymayin Yijard Rivers Arts & Culture Centre Mandurah (WA) – Mandurah Performing Arts Centre
Head Sound – Oliver Taylor & Michael Wickens Head Staging & Floor Sound - Lachlan Turner & David Gallasch Prop Construction – Marshall Tearle Singers – Shauntai Batzke, Karen Cummings, Heru Pinkasova, Georgia Hall Dancers – Jana Castillo, Zoë Dunwoodie, Harrison Elliott, Thomas Fonua, Christopher Mills, Gabrielle Nankivell, Matte Roffe, Rowan Rossi, Kimball Wong, Bree Timms The Zephyr Quartet – Belinda Gehlert (Violin), Emily Tulloch (Violin), Jason Thomas (Viola), Hilary Kleinig (Cello) Quartet – Emma Perkins (Violin), Louise Beaston (Violin), Linda Garrett (Viola), Heather Stratfold (Cello)
INTERNATIONAL TOUR (FEB + NOV - DEC) Amsterdam (The Netherlands) - DeLaMar Theater (February) Furth (Germany) - Stadttheater Fürth Wolfsburg (Germany) - Scharoun-Theater Wolfsburg Venlo (Germany) - Theater de Maaspoort Arnhem (The Netherlands) - Musis & Stadstheater Arnhem Eindhoven (The Netherlands) - Parktheater Eindhoven Amersfoort (The Netherlands) Theater & Congrescentrum de Flint nv Assen (The Netherlands) - Theater De Nieuwe Kolk Emmen (The Netherlands) - ATLAS Theater Maastricht (The Netherlands) - Theater aan het Vrijthof Tilburg (The Netherlands) - Theaters Tilburg Brugge (Belgium) - Concertgebouw Brugge Bonn (Germany) - Theater Bonn Gouda (The Netherlands) - De Goudse Schouwburg
# PERFORMANCES 39 TOTAL ATTENDANCE 16,547
CONST RUCT BY TANJA LIEDTKE “The three dancers are exceptional: they dance superbly and their inner spirits capture the myriad moments that make us human” - INDAILY In 2017, to commemorate the 10-year anniversary of the passing of prodigious talent, Tanja Liedtke, ADT presented the return season of construct, an extraordinarily complex and detailed piece, performed with great wit, clarity and emotion. Following the Adelaide season, ADT named the rehearsal studio at The Odeon, The Tanja Liedtke Studio in her honour. From the first dwellings ever built to contemporary towers, to the shelter assembled from the need to simply survive, the physical act of building a structure, a connection or a dream is rich in metaphor and emotional bonds. Building – collapsing – re-buliding – assembling – disintergrating – always building – slow decay. construct uses inventive movement and simple design to evoke the familiar, the domestic and the unexpected. construct was conceived and directed by Tanja, and choreographed in collaboration with former ADT dancers Kristina Chan and Paul White. Kristina Chan, Paul White and Craig Bary (who was previously a Rehearsal Director on construct) returned as re-mount directors for this latest iteration of the celebrated work. In 2018, the company were honoured to present construct at Theater und Orchester Heidelberg as part of Tanzbiennale Heidelberg. This was the first-time construct had been performed in Tanja’s home country - a true privilege for the company to be part of. We thank Paul White who joined the tour party as Rehearsal Director. We also thank the Tanja Liedkte Foundation for their ongoing support, without which, the performance in Germany would not have been possible. CREDITS Conceived and Directed – Tanja Liedkte Choreography – Tanja Liedtke In collaboration with - Kristina Chan & Paul White Remount Directors - Kristina Chan & Craig Bary Rehearsal Director - Paul White Creative Coordinator & original Remount Director - Solon Ulbrich Composer - DJ TR!P Dramaturgy Consultant - Joshua Tyler Set & Lighting Design - Ben Cobham & Geoff Cobham (Bluebottle) Technical Director & Lighting Realiser/Operator - Paul Cowley Stage Manager & Sound Operator - Lucie Balsamo Dancers - Marlo Benjamin, Jana Castillo & Kimball Wong GERMAN PREMIERE SEASON (MARCH) Tanzbiennale Heidelberg, Theater und Orchester Heidelberg (Germany) # PERFORMANCES 1 TOTAL ATTENDANCE 350
OTHER ACTI V ITIES <
ADELAIDE BIENNIAL OF AUSTRALIAN ART IN OUR NATURE BY TAMARA DEAN
UKARIA 24 FEAT. ZOË DUNWOODIE + MATTE ROFFE
Throughout February - June the ADT dancers featured in the work of photographer Tamara Dean in her exhibition for the 2018 Adelaide Biennial of Australian Art, titled In Our Nature.
Curated by German-French cellist Nicolas Altstaedt, UKARIA 24 is Ukaria’s flagship weekend event. In 2018 Nicolas brought with him Norwegian violinist Vilde Frang, British violist Lawrence Power, and Russian pianist Denis Kozhukhin.
Shot nude in the Mount Lofty Botanic Gardens, it was a cold but incredible experience. “The way the dancers can use their bodies, it was a privilege to work with them. The sort of forms that I’m trying to explore, they’ve been working on in a nature piece themselves [The Beginning of Nature], so they had this amazing grounding already. I didn’t even have to explain so much — they just got it” - Tamara Dean In Our Nature was displayed at the Museum of Economic Botany, Adelaide Botanic Garden, as part of the 2018 Adelaide Biennial of Australia Art: Divided Worlds, which is also at the Art Gallery of SA, Samstag Museum, JamFactory and Mercury Cinema. THE CIRCADIAN CYCLE BY GARRY STEWART + CORDELLIA BERESFORD
The Circadian Cycle is a short film conceived and directed by Garry Stewart created in collaboration with renowned Director and Cinematographer Cordelia Beresford. The film charts the cycle of a day in nature - sunrise, midday, late afternoon into night. Using the dancing body as a metaphor for the morphologies and behaviours of creatures in nature, the film moves through a cycle of nascence, awakening and the brutality of predation. The film draws upon the choreography from The Beginning of Nature shot in stunning locations across the state including: Flinders Chase National Park, Lake Bumbunga, Lake Gairdner, Maslin Beach, Mount Lofty Botanic Garden and Mount Remarkable National Park. The Circadian Cycle will premiere in 2019.
The weekend included “Visual Polyphony”, which featured solo performances performed and choreographed by ADT dancers Matte Roffe and Zoë Dunwoodie. Together with Nicolas live on stage, they performed to two of Bach’s immortal Cello Suites to sold-out audiences. “Altstaedt’s cello playing revealed his wizardry in giving life to Bach’s complex polyphony and one suspects that the presence of dancers emboldened him to reveal more colours and shapeliness” - Rodney Smith, The Advertiser THE BEGINNING OF NATURE ON BOARD CUNARD’S QUEEN ELIZABETH
In early 2018, luxury cruise brand, Cunard announced a series of partnerships with leading Australian companies: fashion icons R.M. Williams and Akubra hats, Melbourne - based boutique whisky distillery STARWARD and ADT. These partnerships were designed to embrace Australian products and culture during Queen Elizabeth’s 2019 Australian season. The company performed on board Queen Elizabeth at various media events as part of the announcement. In March 2019, on board Queen Elizabeth’s six-night Tasmania voyage the company will present bespoke performances of The Beginning of Nature, as well as movement workshops and Insights Talks with the company. HENSHKE’S 15OTH ANNIVERSARY
In September we celebrated our supporting partner Henschke’s 150th year of family winemaking. We were delighted to perform an excerpt from The Beginning of Nature for invited guests at the Henschke 150th anniversary event in the Barossa’s Eden Valley. Congratulations to our valued partner who support ADT through the Henschke Wine Bar at our home, The Odeon in Norwood.
A DE L A I DE D A NC E F E S T I VA L Established by ADT in 2018, the Adelaide Dance Festival featured a program of world-class performances, workshops, installations, discussions and masterclasses, inviting audiences to be moved, challenged and inspired. The Adelaide Dance Festival is the first Adelaide festival dedicated solely to dance, sitting alongside the other festivals in Adelaide which are dedicated to the visual arts, cabaret and film. With a vision to be a national and international leader in dance and to push the boundaries of the art form through ambitious collaborations and interconnections, the Adelaide Dance Festival aims to create, support and promote new opportunities for dance in South Australia. The inaugural Festival was the ambitious first step in what we hope will be the development of a major international dance festival. It will provide an unprecedented platform for showcasing South Australian-produced dance alongside national and international work of the highest calibre. We thank the generous supporting partners of the inaugural Adelaide Dance Festival: Arts South Australia, City of Adelaide, Australia Council for the Arts, Channel Nine, Adelaide Festival Centre, Adelaide Airport, Novatech Creative Event Technology and Freerange Future. With the support of these organisations we were able to achieve an affordable program of performances and events which appealed to all ages. HIGHLIGHTS OF 2O18
• • • • • •
Over 20,500 audience members attended performances with 91% total capacity reached 3,733 audience members attended The Cubic Museum, supporting the work of three local independent choreographers Over 3,000 attended events and discussion panels 75% total capacity reached Over 900 international delegates from across the globe visiting Adelaide as part of Panpapanpalya – Joint Dance Congress 331 participants attending dance classes, workshops and masterclasses with 77% capacity reached 11 free events including performances, talks and dance classes
“One week I was watching The Beginning of Nature and the following week I was watching this amazing Freestyle Event. I love that dance communities support each other and ADT it was great that they could use your venue for this. I was blown away by both performances. So different but so similar in so many ways - dedication, strength and flexibility, creativity etc. Love it” – Mel on Facebook “Congratulations Garry Stewart - an amazing initiative that dovetailed so well with the international Dance Congress held in Adelaide for delegates from 29 countries!! Fantastic!” – Rosemary via Facebook From the fairyland of The Sleeping Beauty to the social consciousness of The Beginning of Nature, the first Adelaide Dance Festival will offer plenty of entertainment and intellectual challenge – Alan Brissenden, The Adelaide Review “Awesome - Fantastic! Loved every minute - need lots more of this in Adelaide! Thank you! Thank you! Thank you! everyone for making this an event!” – Feedback from Andrew Morrish Workshop ADELAIDE DANCE FESTIVAL
Website - adelaidedancefestival.com.au Instagram - @adelaidedancefest Facebook - facebook.com/adelaidedancefestival/ Twitter - twitter.com/ADLdancefest Spotify - Adelaide Dance Festival
Events/discussion attendees 3,168
Audience members 20,555
Dance classes + workshop attendees 331
2018 PROGR A M PERFORMANCES
• • • • • • •
The Sleeping Beauty by the Australian Ballet The Spinners by Limosani Projekts & Al Seed Productions The Beginning of Nature by Australian Dance Theatre* Regional Shows (The Spinners and The Beginning of Nature) Rainbow Vomit by Dancenorth Creatures by Alison Currie & the Human Arts Movement The Cubic Museum (collaboration between ADT and the South Australian Museum with works by Erin Fowler, Lewis Major and Jo Stone)*
• • •
Panpapanpalya – Joint Dance Congress Freestyle Session Australian Qualifiers (break-dancing competition)* Dancing Room*
The Art of Nature (presented in partnership with the Adelaide Festival of Ideas)* Meet the Makers (facilitated by Maggie Tonkin, featuring Garry Stewart, David McAllister, Lina Limosani and Al Seed)* McAllister in Conversation The Beginning of Nature post-show Q/A * Creatures in Conversation
• • •
FLOW: Dance on Film*
WORKSHOPS, CLASSES + MASTERCLASSES
• • • • • • •
Free Public Dance Classes (Bharatanatyam (Classical Indian), Latin Funk, Contemporary, Ballet, HipHop)* Dancenorth Masterclass Dancenorth Youth Workshop The Australian Ballet Open Class Stephanie Lake workshop with LWDHub ‘Solo Improvisation’ Workshop with Andrew Morrish Mindfulness in Motion with Dr Alison Robb*
*Commissioned by Australian Dance Theatre 24
> LEAR NING PROGR A M
LEARNING SECONDMENT WEEK
Australian Dance Theatre is committed to providing opportunities for young dancers who are passionate about a career in dance. As part of the Learning Program we provide an annual Secondment Week for tertiary and vocational dance students. In 2018, in a week-long intensive, 20 young dancers from local, interstate and international universities and schools came to ADT to spend time working alongside the company’s dancers. Secondment Week is an opportunity for these young dancers to learn from their peers and get an intimate (and realistic) understanding of company life and the demands of a professional dancer. Secondment Week also provides an opportunity for dancers to enhance their skill base and learn ADT’s unique and challenging repertoire, tumbling skills, and training methodologies. The week also includes lectures on the business side of running professional dance company across aspects such as grant-writing, audition applications, marketing and publicity. WORKSHOPS
ADT have had an exciting year conducting workshops at home locally, and whilst on tour, both nationally and internationally. Using repertoire from The Beginning of Nature, the company dancers conducted workshops with participants across universities, high schools and vocational training institutions. These workshops focus on the company’s contribution to the enrichment of arts education. Our Teaching Artists as well as the company dancers bring their expertise in dance teaching to all workshops as well as teaching through demonstration to young dancers in high schools throughout the country. While touring Europe the dancers held workshops for professional dancers and dance students from various universities and schools. Associate Director Sarah-Jayne Howard held a series of masterclasses for more advanced dancers which proved to be very popular. From our studios in Adelaide, school students were invited to open rehearsals and observe the dancers in their daily routine, including watch company class and tumbling training, followed by the opportunity ask questions and share conversations. In 2018 the company launched a refreshed In-School Workshops Program. Sending the company’s trained teaching staff to local high schools throughout South Australia, these workshops were aimed at students in years 5-12. The program included local high schools as well as schools in regional areas, with teachers leading workshops in schools in Renmark and Berry. In these workshops’ students learned company repertoire as well as choreographic tasks and technique, to enhance creativity, team work and a deeper understanding of making contemporary work. These workshops allowed students to advance their skills and knowledge of dance with the convenience of our teachers travelling to them. Without the difficulty of transporting students this method is particularly beneficial for more remote areas. We look forward to developing this program further and engaging with more students and teachers in remote areas not yet visited before by ADT. FEEDBACK
“Loved the welcoming environment and how the company members made us feel like part of the cohort for the week. An amazing week with inspiring people, thank you for the opportunity” – Olivia (Secondment Week) “I have learnt so much! Thank you for this opportunity. As I am only just 17 this was an amazing experience and would love to take more classes with ADT. Loved everything!” – Imogen (Secondment Week) “ADT’s adult ballet classes are the best I have ever done, which is why I keep returning, even after eight years. Our current teacher, Chylie, is among the best we have ever had because she can teach to all levels, including the very beginner. Highly recommended” - Public Dance Class participant “So glad I started. I love my Tuesday morning classes. Janet is great at what she does and incorporates a god variety of ballet, Pilates and stretching exercises each week” - Public Dance Class participant
PROGR A M YOUTH ENSEMBLE
In 2018 the ADT Youth Ensemble were exposed to a fantastic line up of local choreographers, teaching them valuable skills in improvisation, creation of movement vocabulary and performance. These choreographers included Lewis Major, Tobiah Booth-Remmers, Kialea -Nadine Williams and Paulo Castro. The Ensemble also had the opportunity to learn the choreography of Garry Stewart, taught by the ADT dancers. For the second year, the Youth Ensemble were invited to perform as part of the Art Gallery of South Australia’s Neo Teen Takeover event. For one night only teens get a VIP look at the Gallery after hours as it comes alive with performance, film, music, dancing, theatre, circus and more. At this year’s Teen Takeover, the Youth Ensemble performed an excerpt of ADT’s mainstage work, Be Your Self as well as an original work by Tobiah Booth-Remmers. The Youth Ensemble joined the program amongst some of South Australia’s leading arts organisations including the Adelaide Central School of Art Ensemble, Carclew, MOD. at the University of South Australia, SA Circus Centre, Home of Cirkidz, State Theatre Company South Australia, Tandanya National Aboriginal Cultural Institute, Young Adelaide Voices and more. It was a fantastic night of film, music, theatre dance and visual arts. Performing to an audience of a little over 600, the Youth Ensemble performance was very well received. Following this the Ensemble were given the opportunity to perform in collaboration with the artists from CirKidz at the inaugural Adelaide Dance Festival as part of the Closing Ceremony of the Panpapanpalya Joint Dance Congress. Panpapanpalya 2018 is one of world’s largest gatherings of dancers, dance educators, and artists of all ages, generating new thoughts and ideas for dance learning and teaching in the 21st century. As part of Panpapanpalya the Youth Ensemble dancers assisted in leading over 300 delegates in a performance of Big Dance, a large participatory event where delegates and members of the community learnt a short phrase of movement and performed together in a CBD location. Later in the year the Youth Ensemble performed a work by Paulo Castro as part of ADT’s annual Rough Draft. This was a significant performance opportunity for the Ensemble to dance alongside ADT’s professional dancers as well as local independent dancers and choreographers. The performance was held for the first time at ADT’s new home at The Odeon. In August, the Ensemble were invited to perform at the Adelaide Airport Retailer Awards, held at The Odeon. Adelaide Airport are a Supporting Partner of ADT, so it was wonderful for the Ensemble to At the end of the year the Ensemble returned to The Odeon for their final performance - a showing of the different works they had accomplished during the year, performed for friends, family and, sponsors and invited guests of the company. At this intimate event they were able to demonstrate their newly taught skills and showcase their development throughout the year. It was a fantastic night that they should feel very proud of. The company were thrilled that many of our Youth Ensemble have been accepted into some of Australia and New Zealand’s most respected vocational dance institutions. We send our congratulations to Grace Bosward who was accepted into the New Zealand School of Dance, Kelsey Sharrad who was accepted into the Western Australia Academy of Performing Arts and Fern Mines, who has received offers from both Western Australia Academy of Performing Arts and Queensland University Technology. We also give our congratulations to Lachlan Walmsley will move into his second year at Adelaide College of the Arts. We congratulate and thank our 2018 Youth Ensemble on a fantastic year representing Australian Dance Theatre.
ADT Youth Ensemble audiences 1,604
Public dance class attendees 1,595 (115% increase from 2017) 28
ADT ICC The ADT International Centre for Choreography (ICC) was established to facilitate support for local, interstate and international dance artists in the creation of dance through workshops, exchanges and residencies, and professional development initiatives. HANOVER CHOREOGRAPHIC COMPETITION WINNERS - HUMANHOOD Throughout January we hosted UK based choreographers Rudi Coleman and Julia Robert, Artistic Directors of their own company, Humanhood based in Birmingham. Rudi and Julia were awarded the residency with ADT after being one of the winners at the 2017 Hanover Choreographic Competition in Germany. This residency was generously funded by the Tanja Liedtke Foundation who is a sponsor of ADT’s International Centre for Choreography (ICC). ROUGH DRAFT Rough Draft is part of our commitment to nurturing emerging and established choreographers, providing a platform for independent dance makers and our own company dancers to create and show works-in-development. In October we were thrilled to see a full house for our annual Rough Draft event at our new home, The Odeon. It was an evening of truly moving, funny, interesting and powerful new works and ideas. Congratulations to the dancers and to the choreographers featured in the 2018 program: Gabrielle Nankivell, Cayleigh Davies, Zoë Dunwoodie, Christopher Mills, Petra Szabo, Harrison Elliott & Mirka Vlachou, Matte Roffe, Matt Shilcock & Tess De Quincey, Thomas Fonua and Paulo Castro (performed by the ADT Youth Ensemble). RESIDENCIES + FREE STUDIO SPACE As part of its Residency Program, ADT provides space for creative and professional development for local independent artists at no cost. The residency includes access to the Tanja Liedtke Studio, Main Theatre (depending on the company’s touring schedule), meeting room, break-out space, green room, toilets/showers, a ‘hot-desk’, as well as free access to wifi. Artists and organisations who received free studio space in 2018 included Lewis Major, Erin Fowler, Carlie Angel, Daniel Jaber Madjestik Hip Hop Crew, PoeOne and Mirka Viachou. The ADT ICC were proud to support Lewis Major and Erin Fowler, both presenting works in the 2019 Adelaide Fringe Festival. Lewis is presenting two seasons at The Odeon including Epilogue and Rich Mix (featuring a work by Carlie Angel) and Erin will present a solo piece titled FEMME at The Mill. In 2018, ADT provided 53 days of free studio space for independent artists and arts organisations. OPEN CLASSES ADT opens its doors to independent professional dancers to attend our professional company classes on weekday mornings, free of charge. In 2018, approximately 35 local, national and international dancers attended company classes with the company, allowing them access to the highest quality professional training. WORKSHOPS In 2018, ADT held workshops - ‘Making North’ with Ina Christel Johannessen and ‘Making South’ with Garry Stewart. In Making North, Ina gave 11 dancers and choreographers a rare insight into her unique choreographic processes. The workshops also involved discussions on choices regarding scenography, lighting and all aspects of design which are all paramount in Ina’s creations. In Making South with Garry worked 9 participants on unpacking his latest work, South. This workshop provided a hands-on case study for participants to analyse the processes and approaches to choreographic practice from conception through to completion as well as the opportunity to discuss and share how ideas and concepts are directed into an artistic outcome. TANJA LIEDTKE FELLOWSHIP The Tanja Liedtke Fellowship is offered by the Tanja Liedtke Foundation in partnership with Berlin’s ada Studio and as of 2018, ADT’s ICC. In late 2018 the ICC managed the Fellowship application process in partnership with the Foundation. Open to dancers and choreographers who have not had extensive experience in Europe, this is an incredible opportunity for creative development, artistic exchange, study and international networking. Joining selection panel is Garry Stewart and Sarah-Jayne Howard. The winner of the Fellowship will be announced in 2019.
> R E ACH & STATISTICS
46 performances 20,817 audience members
SOCIAL & ONLINE 57,667 likes
> 21.5% increase
980,000 video views 1,988 followers
> 37% increase
56,300 views 34
AWA R DS & M E DI A Such a powerful and moving performance last night at the Dunstan Playhouse. Bravo to all who took part in whatever capacity - it was totally AMAZING! - Patricia “It is a privilege to watch you - amazing skill, strength & agility love your work” – Loretta “What a sensory experience! This performance was stunning - the combination of dance, light, sound, voice and music was unlike anything I’ve ever seen - words cannot do it justice. Thank you” - @mintus “This show is mind blowingly beautiful, the music is transporting, and the dancers exceptional in their craft” - @musicforlittlehearts Australian Dance Award Outstanding Performance by a Female Dancer Jana Castillo for construct by Tanja Liedtke Other nominations: Outstanding Performance by a Male Dancer - Kimball Wong in construct by Tanja Liedtke “The dance is extraordinary. The prodigious athleticism of the dancers, with frenetic spins and rolls and muscular leaps, is a stunning contrast to their attention to the tiniest details in astonishingly intricate set pieces” - Peter Burdon, The Advertiser (The Beginning of Nature) “It is poetic, elemental, ritualistic, and even operatic in the intense theatricality that pervades it... absolutely compelling and engrossing to watch” - Michelle Potter, Canberra Times (The Beginning of Nature) “The extraordinary precision and athleticism of all of the dancers ensured the audience experienced the phenomenal intensity of the uncompromising demands of the choreography” - Pam Watts, Broadway World (The Beginning of Nature) “Stewart has created a masterpiece” - Bill Stephens, Australian Arts Review) (The Beginning of Nature) 36
> PERFORMANCE AGAINST GOALS
A R T I S T I C I N N O VA T I
Mainstage works across the 2016-2020 p Secondary works (smaller scale works) Create a diverse program of new works/events/productions that can be toured to national and international audiences
Community Projects International tours
Collaborate with national and international artists
Commission guest choreographers to work with Artistic Director on development of new works
Guest choreographers are engaged to pro new work per year
Grow and maintain an expanded Company of at least 9 full-time dancers
Number of dancers
Promote innovation in dance through research projects and partnerships with universities
Involvement in at least 1 project during
Guest teachers (including ADT alumni)
Guest artists and companies visiting AD
Maintain a culture of artistic excellence
ADT members are provided with choreo development of AC Arts student works, and other opportunities outside of ADT Artistic advisory processes
Feedback on artistic merit through man development & after premieres and tour Reviews in media
ION & DISTINCTION
Achieved - The Beginning of Nature - National & International Touring
Achieved - construct by Tanja Liedtke, Ukaria 24 performances
Achieved - Proximity Interactive - installed at ACMI’s Screen Worlds, Odeon Open Day, Adelaide Dance Festival free events (including The Cubic Museum in partnership with SA Museum)
Achieved - The Beginning of Nature, European Tour (Feb + Nov-Dec)
Achieved - North/South creative development with Ina Christel Johannessen
Achieved - North/South creative development with Ina Christel Johannessen
Achieved - 7-9
the 2016-2020 period
Achieved - (1) The Cubic Museum, created in partnership with the South Australian Museum. Commissioned choreographers met with Researchers to create works.
) for Company classes
50% of classes
Achieved - Dancenorth, Gabrielle Nankivell, Daniel Jaber
oduce or collaborate on one
DT (national and international)
ographic opportunities eg, through the 4-6 Company , Youth Ensemble works, Rough Draft members T activities
Achieved- (8) Rough Draft; Zoë Dunwoodie, Thomas Fonua, Gabrielle Nankivell, Harrison Elliott, Christopher Mills, Matte Roffe Ukaria 24 - Zoë Dunwoodie & Matte Roffe
nagers’ debrief during creative rs, and peer reviews
Achieved - ongoing
AUDIENCE & COMMU
STRATEGY Attract and retain strong local and national urban, regional and remote audiences
KEY ACTIVITIES/KPIs/MEASURE Refresh and refine audience database Public programs/events in Adelaide (eg, Adelaide Embedded) Implement National Touring Strategy Implement International Touring Strategy Build schools audience through:
~ Develop teaching and learning resources and provide to schools ~ Lecture demonstrations/schools matinees and open rehearsals for teachers and students Undertake at least one national tour every 2 years, working with presenting partners to develop strategic marketing and audience engagement activities
Maintain existing audience engagement programs (including â&#x20AC;&#x153;Experience ADTâ&#x20AC;? program) and explore new to reach potential audiences ~ Workshops and Q&As ~ Streaming Company activities ~ Pre-tour workshop roadshow Increase audience accessibility: ~ Offer student and concession prices Expand regional and remote learning programs ~ Local, regional and remote workshops in SA
~ Seek new partnerships with other organisations operating in this space, such as Country Arts SA and regi community dance organisations Establish/continue relationship with national presenters Retain existing and build new relationships with ~ Attend and pitch/present at national performing arts markets presenting bodies ~ Invite presenters to see new work as it develops ~ Establish/continue relationships with international agents: Retain audiences in existing international mar- ~ Attendance at international performing arts markets kets and build audiences in new markets ~ Secure touring to existing and new markets Assessment and revision of the current learning program Deliver effective learning program
ADT public dance program Via social media, digital platforms, and direct marketing ~ Reach of digital media
Share information about the Company to expand audiences and increase engagement
~ Facebook likes ~ Twitter followers ~ Instagram followers ~ Direct marketing
Philanthropy program reviewed annually.
Not achieved due to changes in staff and Development Manager role vacant for part of the year.
Achieved via Adelaide Dance Festival activities
Ongoing implementation & revision
Ongoing implementation & revision
Achieved - ongoing. First North American tour in 15 years confirmed for 2019
15 schools access resources
Achieved - 18 sold
5,000 views. Integrate into regular company programming
Not achieved - IT review following relocation to new premises
Review success & future planning
Not achieved due to insufficient funding support
Achieved - ongoing
Not achieved - 7
Achieved as part of regional Australia touring
Achieved - Tanzmesse & CINARS (International Producer & Artistic Director); APAM (Producer & Marketing Coordinator)
Achieved - Europe 2018 (existing) and North America 2019 (new)
Annual review of program
Program reviewed and 2017 plan implemented
Ongoing review 2-4 classes per week
Achieved Achieved - Move to The Odeon with new program has allowed for 8 classes per week
Achieved - 21.5% increase - total 57,667
Not achieved - 1.4% decrease - total 1,988
Achieved - 37% increase - total 14,654
STRENGTHEN DA NCE S
KEY ACTIVITIES/KPIs/MEASURE Support and develop local choreographers ~ ADT ICC ~ Rough Draft / Enhancement / Ignition programs
Provide development opportunities for local artists ~ Choreographic intensives “Made to Dance” program ~ Open professional classes (Mon-Fri except when Company touring) attended by independent artists
Support the local dance sector
Annual roundtable discussion for South Australian dance sector “Meeting at the Dance Hall” Contribute to elevating the calibre of vocational and tertiary dance and production graduates via “Fast Track to Dance” program: ~ AC Arts Creative Partnership ~ Annual Secondment Week
Nurture the next generation of Australian dancers ~ KickStart ~ Masterclasses (per season) ADT Youth Ensemble ~ Classes & training ~ Performance opportunities
ACHIEVED 2018 Publicly announced ADT ICC, AD through the Churchill Fellowship was able to research/design ADTâ&#x20AC;&#x2122;s ICC model Achieved - 1 x Rough Draft and 6 x Enhancement (studio space placements)
Achieved - 12 choreographers (16 performers)
Not achieved - 2
Not achieved - 20 students
KickStart program ceased due to crossover with other ICC and Learning Program activities
Achieved - 1
Achieved - 16
2-4 hours per week
3-4 per year
GOAL BUILD AND MAINTAIN OPERATIONAL AN
KEY ACTIVITIES/KPIs/MEASURE Maximise income through existing programs and new initiatives: Sponsorship Private sector support ~ Maintain existing and acquire new sponsors ~ Implement philanthropy program Income from co-commissioning ~ 1 new major work every 2 years to be co-commissioned
Achieve financial security
Income from government and NGO grants for new projects/initiatives Box office income through 2 x South Australian seasons per year Income from ADT Learning Program: ~ ADT Public Dance Classes ~ Secondment Week ~ KickStart ~ Workshops Maintain a majority of tour financial results that are breakeven or better
Policies and procedures manual redeveloped to ensure relevance and Operate according to best practice governance application guidelines Adopt Australia Council for the Arts’ “Essential governance practices for arts organisations” Secure appropriate accommodation for the Company
Relocate ADT to a permanent purpose-designed home in Adelaide providing state of the art studios and offices
FOUR D FINANCIAL STABILITY AND STRENGTH
Minimum 5% increase in income
10% increase in donations
66% break-even or better; 34% subsidised Achieved Achieved KickStart program rolled out due to increased Learning Program Activity and introduction of Dancerâ&#x20AC;&#x2122;s In Schools Program in 2018
Achieved Achieved Review & update as required
Secure new premises and relocate
Achieved. Fully relocated and refurbished.
CORPOR ATE GOVER NA NCE STATEMENT IT IS THE AIM OF ADT TO MEET BEST PRACTICE IN CORPORATE GOVERNANCE, WITH A FRAMEWORK DESIGNED TO:
• • •
Enable the board to provide strategic guidance for ADT and effective oversight of management Clarify the respective roles and responsibilities of board members and senior executives in order to facilitate board and management accountability to ADT and its stakeholders Ensure a balance of authority so that no single individual has unfettered powers
ROLE OF THE BOARD AND ITS MEMBERSHIP
ROLE OF MANAGEMENT
The board is responsible for the corporate governance of ADT. It oversees the business and affairs of the Company, approves the strategies and financial objectives to be implemented by management, and monitors standards of performance against those plans in achieving the Company’s goals.
The role and responsibility of management is to:
The membership of the board will be directed by the following requirements: •
• • •
The constitution of ADT specifies that there must be at least three directors and no more than twelve. The board may determine the size of the board within those limits The board must consist of a majority of independent directors who satisfy the criteria for independence adopted by the board The Chair of the board must be an independent director who satisfies the criteria for independence adopted by the board The board should, collectively, have the appropriate level of personal qualities, skills, experience and time commitment to properly fulfil its responsibilities or have ready access to such skills where they are not available
• • • • • • • •
Recommend the strategic direction, plans and options for the board’s consideration and translate the board’s approved strategic direction into the operations of the business Assume the day to day responsibility for ADT’s conformance with relevant laws and regulations and its compliance framework Achieve the performance targets set by the board Develop, implement and manage ADT’s risk management and internal control frameworks Develop, implement and update ADT’s policies and procedures Be alert to relevant trends in the industry and ADT’s operating environment and respond accordingly Provide sufficient and relevant information to the board to enable the board to effectively discharge its responsibilities Act as a conduit between the board and ADT Manage ADT’s human, physical and financial resources to achieve ADT’s objectives
The board may also establish committees to assist it in carrying out its responsibilities. The board will adopt charters setting out the membership, administration, purpose, responsibilities and functions appropriate to each committee. In 2019, committees in operation were the Governance Committee, Learning Committee and Fundraising Committee.
PARTNERS Australian Dance Theatre acknowledges the support of the following organisations and thanks them for their commitment and generosity.
GOVERNMENT The Australian Federal Government through
The South Australian Government through
Images Cover – The Beginning of Nature. Thomas Fonua, Jana Castillo, Christopher Mills, Rowan Rossi, Gabrielle Nankivell, Harrison Elliot © Chris Herzfeld Camlight Productions. Page 1 – construct by Tanja Liedtke. Marlo Benjamin, Kimball Wong © Chris Herzfeld Camlight Productions. Page 2 – Garry Stewart, Matte Roffe © Juan Diego Castillo. Page 5 – The Beginning of Nature. Thomas Fonua © David James McCarthy. Page 7-8 – The Beginning of Nature. ¬Rowan Rossi, Gabrielle Nankivell, Christopher Mills, Zoë Dunwoodie, Thomas Fonua, Matte Roffe, Harrison Elliott © David James McCarthy. Page 11-12 – The Beginning of Nature. Thomas Fonua, Harrison Elliott, Rowan Rossi, Jana Castillo, Christopher Mills, Gabrielle Nankivell © Chris Herzfeld Camlight Productions. Page 13 – (top) South rehearsal. Rowan Rossi, Kimball Wong, Matte Roffe, Harrison Elliott, Zoë Dunwoodie, Christopher Mills, Daniel Jaber © Simon Stanbury. (below) North rehearsal. Ina Christel Johannessen © Chris Herzfeld Camlight Productions. Page 15 – The Beginning of Nature. Matte Roffe © Chris Herzfeld Camlight Productions. Page 17 – construct by Tanja Liedtke. Kimball Wong, Jana Castillo, Marlo Benjamin © Chris Herzfeld Camlight Productions. Page 19 - Dancers of Australian Dance Theatre in Tamara Dean’s In Our Nature: Fallen Willow (Salix) in Autumn, 2017. Works courtesy of the artist and Martin Browne Contemporary. Page 21 – Adelaide Dance Festival (top) Dancing Room © Meaghan Coles (bottom) Erin Fowler as part of The Cubic Museum at the South Australian Museum © Meaghan Coles. Page 22 (top) Adelaide Dance Festival (top) Creatures by Alison Currie © Meaghan Coles (bottom) Rainbow Vomit by Dancenorth © Amber Haines. Page 25-26 – ADT Youth Ensemble at the Adelaide Airport Retailer Awards © Simon Casson. Page 29 – North rehearsal. Harrison Elliott © Chris Herzfeld Camlight Productions. Page 31-32 – The Beginning of Nature. Thomas Fonua, Christopher Mils, Jana Castillo, Kimball Wong, Harrison Elliott, Rowan Rossi (background – The Zephyr Quartet & singers Karen Cummings and Heru Pinkasova) © Chris Herzfeld Camlight Productions. Page 33 – The Beginning of Nature. Zoë Dunwoodie, Thomas Fonua © Chris Herzfeld Camlight Productions. Page 35 – construct by Tanja Liedtke. Jana Castillo © Chris Herzfeld Camlight Productions. 37-38 – South rehearsal. Kimball Wong, Jana Castillo, Thomas Fonua, Christopher Mills, Zoë Dunwoodie, Matte Roffe, Garry Stewart © Chris Herzfeld Camlight Productions. Page 47 – The Beginning of Nature rehearsal. Matte Roffe © Juan Diego Castillo. Page 49 – The Beginning of Nature. Christopher Mills, Harrison Elliott, Zoë Dunwoodie, Kimball Wong, Matte Roffe © David James McCarthy. Page 53 – The Beginning of Nature. Kimball Wong © Chris Herzfeld Camlight Productions.
COMPANY D KIM BOEHM Chair of the Board
Kim retired from his position as Director of Talent Management and Marketing for the Clemenger Group, Australasia’s largest marketing communications company, in November 2018. He had previously held Managing Director positions with advertising agencies Clemenger Harvie Edge (Melbourne), Young & Rubicam (Melbourne) and Clemenger BBDO (Adelaide). Kim has been a board member of CARE Australia and Catherine House; a member of the school council for the Srathcona Girls School; Chair of the Advertising Federation of Australia’s Chapters in both Adelaide and Melbourne; a member of the Adelaide University Media Advisory Board and a member of the UniSA MBA advisory board.
NATHAN BENNETT Non-Executive Director
Nathan Bennett has been Executive Director of Perth Festival since February 2017. Having worked for leading arts companies in Australia and overseas for nearly 20 years, Nathan has a proven track record of success in executive management, audience engagement, marketing, corporate partnerships, private philanthropy and new technology in the arts. He has held roles as Deputy Executive Director at Belvoir, General Manager at Griffin Theatre Company, Company Manager at Bell Shakespeare and Director of Development at Philadelphia’s Pig Iron Theatre Company in the US.
CHLOE BENTON Non-Executive Director
Chloe is a Certified Practicing Marketer the Asia-Pacific Professional Services Marketing Association (ICON APAC) and a member of the Australian Institute of Company Directors (AICD). Chloe has studied in the USA, UK and Australia, and holds a Masters in International Business and a Masters in Marketing from the University of South Australia, undertaking part of her program at the University of Oxford. Primarily Australia-based, having worked with clients in North and South America, Hong Kong, Macau and Vietnam, Chloe has managed marketing and communications programs for global aid agencies, universities, government departments, and the private sector across 32 countries. From working with KPMG and the global education group Navitas, Chloe is now Sydney based with the global law firm Norton Rose Fulbright, leading the marketing and business development program for their Technology and Innovation group. As a musician, Chloe has spent extensive time overseas in music education and volunteering in Brasil, Mozambique, Nigeria, Nepal, India, Bangladesh and Thailand.
Prior to joining the board of ADT, Chloe was a contributor to the boards and committees of PLAN International, The Communications Council of Australia, ICON, The Oaktree Foundation and Youth With A Mission (YWAM).
ANITA EWING Non-Executive Director
Anita is a senior solicitor at the Crown Solicitor’s Office with 11 years experience and brings her legal acumen to the Board. Anita works in-agency at the Office of the Public Trustee which sees her principally engaged in civil litigation, appearing regularly at the District Court and Supreme Court of South Australia and also the South Australia Civil and Administrative Tribunal. Anita has provided high level advice to the government in the advising section of the CSO and has extensive experience advising in the health and medical sphere. She was engaged as a Ministerial Advisor to the Minister for Health which, in addition to the political component to that role, saw her manage all legislation within the health portfolio through Parliament. Outside of the Public Service, Anita has also worked in the commercial section of a private law firm providing strategic business advice and drafting complex commercial documentation. She has also worked in-house as a taxation consultant in a chartered accountancy and business advisory firm which experience has furnished her with strong business understanding.
DEBOR A H K INGSBU RY Non-Executive Director
Deborah comes to the Australian Dance Theatre Board with over 30 years of experience in marketing and business strategy. She founded and managed one of South Australia’s most innovative and successful wine marketing and distribution companies, Options Wine Merchants, with offices and partners around Australia, and was a finalist in both the Telstra Small Business Awards and Telstra Businesswoman of the Year awards (SA). She has been involved with wine export and import, and has worked for a number of high-profile wine companies. Currently, Deborah is working as a consultant in wine tourism and marketing. Deborah holds a Bachelor of Arts, Masters of Teaching and Graduate Diploma of French (Sorbonne) and is a member of the Australian Institute of Company Directors. She has directorships in property management and development, franchise and telecommunications businesses. Deborah has been on the board of the Carrick Hill Trust and is Chair of the Scotch College Performing Arts Association. She is passionate about the arts and has a large involvement in the music, arts and theatre community.
DIRECTORS JEFF MEINERS
PETER SELTSIK AS
Jeff Meiners is a lecturer and researcher at the University of South Australia’s Division of Education, Arts and Social Sciences. He has taught extensively, directed movement for children’s theatre, and works with government arts and education organizations, dance companies and international dance projects. Jeff was Australia Council for the Arts Dance Board Community Representative (2002–2007), 2009 Australian Dance Award winner for Outstanding Services to Dance Education and dance writer for the Australian Arts curriculum Shape paper. He was convenor of Panpapanpalya 2018 in Adelaide, an international dance congress with over 900 intergenerational participants. Jeff is Chair Elect of Dance and the Child International and represents Ausdance with the National Advocates for Arts Education. Jeff’s doctoral research focused on the construction and implementation of the dance curriculum. He has been a board member of The Birmingham Royal Ballet, Tasdance and Carclew, and established Australian Dance Theatre’s Learning Committee.
Peter is currently the Senior Manager, Asset Management for SA Water. In this role he leads the strategic, operational and capital investment planning for the Corporation’s $14bn of infrastructure assets. Peter has 20 years experience in the utility sector, first within Oil and Gas and more recently within the water industry. Peter has a strong commercial and operational background with a strategic mindset and has held many senior leadership roles driving business through significant change.
RUTH R ENTSCHLER Non-Executive Director
Ruth Rentschler OAM is Head School of Management and Professor Arts and Cultural Leadership at the University of South Australia. She previously held such roles as Associate Dean: Research Education, Research Centre Director, Chair Academic Board, Discipline Leader and Head and Associate Head of School. She is a DAAD, St Hilda’s College and University of Melbourne scholar. She completed her PhD at Monash University. Ruth has over 20 years’ service on non-profit boards including in health (VicHealth), the arts (Art Gallery of Ballarat, Multicultural Arts Victoria and the Duldig Museum and Sculpture Garden), and in education (Deakin University Council, Chair Academic Board Deakin University). She has conducted governance research in Australia for various visual and performing arts organisations and arts ministries and has spoken internationally on the topic in the UK, Europe and Asia as a key note speaker. Ruth has won various prestigious awards including the Medal for the Order of Australia (OAM) for services to education, community and the arts, Deakin University’s Vice-Chancellor’s Award for Outstanding Community Service, the Business School Award for Outstanding Research, Best Doctoral Supervisor and Cutting Red Tape. She is the book editor for the International Journal of Arts Management and series editor on cultural and creative industries management for Routledge UK.
Peter holds an Engineering Degree with Honours and a Master’s In Business Administration. Peter is a fellow of the Governors Leadership Foundation, a member of AICD, a past executive member of Engineer’s Australia Centre for Engineering Leadership & Management Committee in South Australia and a member of the Water Services Association of Australia Asset Management Committee. Peter is also a Non Executive Director of Australian Dance Theatre.
D AV I D S T O B B E Non-Executive Director
David has a Bachelor of Business (Accounting) and is a member of CPA Australia with 20 years finance experience gained in the private sector utility industry. David has a strong business acumen and sound accounting proficiency in the areas of management reporting, budgeting and forecasting. Through his other board appointments including sporting club and other non-for-profit organisations, David has accumulated expertise in both sponsorship and fundraising with a community focus. David joined ADT in 2014 and Chairs the Governance and Nomination Committee.
T R I C I A WA L T O N Non-Executive Director
Tricia has 25 years’ experience in arts administration, management and governance mainly in small-to-medium youth arts, adult education and publishing organisations. She is experienced in strategic leadership, organisational change and policy development. Currently, Tricia is Chief Executive of Carclew, which delivers a multi-art form program for South Australia children and young people. She has managed regional arts program delivery for Country Arts SA, run Kurruru, an Aboriginal youth performing arts organisation, and edited Artwork Magazine for Community Arts Network SA. Tricia chairs A>R>T a collective of artists and educators committed to arts rich learning environments in SA primary schools. Tricia has a BA Degree (Literary Studies), a Grad Dip (Education and Training of Adults), is a fellow of the South Australian Governor’s Leadership Foundation and a graduate of the Australian Institute of Company Directors (GAICD). She is a non-executive director of the Australian Dance Theatre.
AUSTRALIAN DANCE THEATRE