Queensland Ballet - Pas Magazine Issue #4 Special 2021 Season Guide Edition

Your Season 2021 Guide

Every step a story ISSUE #4

DECEMBER 2020

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#4

WELCOME

Contributors Editor Cassandra Houghton Guest Editor Yuverina Shewpersad Words Cassandra Houghton, Ellen Gilroy, Chelsea Clark, Natasha Spong, Meryn Cooper Art Direction & Design Dave Byrne / Bigfish Queensland Ballet Patron His Excellency the Honourable Paul de Jersey AC, Governor of Queensland Board Julieanne Alroe (Chair), Justice David Thomas (Deputy Chair), David Carter, Peter Godber, Paula McLuskie, Prof. Gene Moyle, Allan Pidgeon AM, Amanda Talbot Artistic Director Li Cunxin AO Executive Director Dilshani Weerasinghe Deputy Executive Director Felicity Mandile

Contact

QUEENSLAND BALLET

Queensland Ballet (07) 3013 6666 mail@queenslandballet.com.au Beesley St Studios 34 Beesley St, West End, QLD 4101 From late 2021 —Thomas Dixon Centre, 406 Montague Rd, West End, QLD 4101 Queensland Ballet Academy 101 L’Estrange Terrace, Kelvin Grove, QLD 4059

Subscribe Season Tickets are the best way to experience the ballet in 2021. Become a Season Ticket Holder and save up to 20% off regular ticket prices. You’ll also receive At The Barre — a fortnightly glimpse into the world of Queensland Ballet. See page 29 for more details.

Every effort has been made to ensure that all information was correct at the time of printing, however, details are subject to change where necessary and without notice. Please check queenslandballet.com.au for updates.

Welcome to your special edition of Pas. Magazine where we share with you some insights behind our long-awaited Season 2021!

— We find ourselves here, at the end of 2020, thrilled to officially

/pa/

announce our 2021 Season.

A step or series of

companies around the world. I can only speak for QB in this small

steps in ballet.

corner of Australia, when I say that against all odds I think we’ve

2020 has been such an unexpected, challenging year – not only for Queensland Ballet (QB) and the arts sector, but for people and

ended up triumphant. We’re enormously grateful to our supporters for their loyal, unshaken faith and belief in what we do. Your

IN THIS ISSUE

us to dream even bolder.

I’m incredibly proud of the beautiful season of original works we’ve managed to tour in the last quarter of 2020 to Brisbane Powerhouse, the Gold Coast, Caloundra, Toowoomba and QPAC (Queensland Performing Arts Centre). I remember watching the

Your Season 2021 Productions

first onstage performance of 60 dancers: 60 stories at the Brisbane Powerhouse and being awed by the creativity and passion of our

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HISTORY

INTERVIEW

60th Anniversary Gala Queensland Ballet celebrates 60 years —

The Sleeping Beauty Fairytale life —

8 FEATURE

Peter and the Wolf A woodland adventure —

12 INTERVIEW

Dracula Love at first bite —

16 TOURING

Cover Principal Artist Lucy Green

By David Kelly

generosity and support motivate us to strive even harder and allow

Tutus on Tour Arts in the outback —

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Company. Truly, that night was one I’ll remember long after this pandemic is over.

Now, we’re looking to a new chapter and the opportunity to perform the productions we had planned for you in 2020. Every step we take at QB tells a story, and in 2021 those onstage stories will be gothic, inspiring, dynamic, classic, and much-loved, with Dracula, The Sleeping Beauty, Peter and the Wolf, our annual Christmas The Nutcracker, plus a new season of Bespoke. Offstage, we’re excited about our newly redeveloped home, the Thomas Dixon Centre, set to open in late 2021 and breathe more vibrancy and creativity into Queensland and beyond.

In this unprecedented year more than ever, we are sincerely grateful for the support of the local, Queensland and Australian Governments and all of QB’s visionary donors and corporate

INTERVIEW

partners. Further thanks go to you - our readers, audience members,

Bespoke Cutting-edge contemporary —

students and their families, dance class and workshop participants, QB Friends, Junior Friends, Alumni and dance lovers – our wonderful QB community. Your support has helped us through this difficult year; now, we’re incredibly excited to get started on 2021 and share the exciting experiences and achievements it will bring.

From all of us at Queensland Ballet, we hope you have a wonderful

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festive holiday period. We can’t wait to see you in person in 2021!

FEATURE

The Nutcracker Christmas magic —

18 ACADEMY

Rising Stars Meet the dancers of Queensland Ballet Academy —

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Li Cunxin AO Artistic Director

Acknowledgement of Country Queensland Ballet acknowledges the traditional custodians of the land on which we work and perform. Long before we performed on this land, it played host to the dance expression of our First Peoples.

We pay our respects to their Elders — past, present and emerging — and acknowledge the valuable contribution they have made and continue to make to the cultural landscape of this country.

Photo Principal Artist Lucy Green

By David Kelly

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Season 2021 Productions 60th Anniversary Gala 5–20 March 2021 Playhouse, QPAC

— The Sleeping Beauty 4–19 June 2021 Lyric Theatre, QPAC

— Tutus on Tour 24 July – 25 August 2021 Regional Queensland venues

— Queensland Ballet Academy Gala 13–15 August 2021 Thomas Dixon Centre

— Peter and the Wolf 14–21 September 2021 Thomas Dixon Centre

— Bespoke 8–23 October 2021 Thomas Dixon Centre

— Dracula 26 November – 4 December 2021 Lyric Theatre, QPAC

— The Nutcracker 16–23 December 2021 Lyric Theatre, QPAC

— Bonus special event

Queensland Ballet Academy Summer Soirée 9 December 2021 Lyric Theatre, QPAC

YOUR SEASON 2021 GUIDE

YOUR SEASON 2021

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HISTORY

1996—2020 A history of making wishes and taking chances

60th Anniversary Gala

Read about Queensland Ballet’s history during the 60s, 70s and 80s in Pas editions #2 and #3 on our website: queenslandballet.com.au/pas-magazine

5–20 March 2021 Playhouse, QPAC

QUEENSLAND BALLET

Creatives Choreographers Charles Lisner OBE, Harry Haythorne MBE, Harold Collins MBE, Jacqui Carroll, François Klaus, Harald Lander Music performed by Camerata Queensland’s Chamber Orchestra Performance Dates Friday 5 March — 7.30pm Saturday 6 March — 1.30pm Saturday 6 March — 7.30pm Sunday 7 March — 1.30pm Tuesday 9 March — 6.30pm Wednesday 10 March — 6.30pm Thursday 11 March — 7.30pm Friday 12 March — 7.30pm Saturday 13 March — 1.30pm° & 7.30pm °OPEN COMPANY CLASS, Q&A*, CENTRE STAGE Tuesday 16 March — 6.30pm Q&A (AUSLAN) Wednesday 17 March — 6.30pm Thursday 18 March — 7.30pm Friday 19 March — 7.30pm Saturday 20 March — 1.30pm & 7.30pm Single Ticket Prices Premium Reserve Tuesday — Thursday Adult $100 Concession $85 30yrs & under $65 Child $55 Friday — Saturday Adult $115 Concession $95 30yrs & under $75 Child $60 Save up to 20% with Season Tickets See page 29 Book tickets at queenslandballet.com.au For more information about Theatre Experiences and Access visit queenslandballet.com.au/community *Please refer to page 29 for further information on our accessibility offerings.

A transaction fee of $7.20 applies per transaction.

Selected ticket delivery methods may incur an additional charge.

Photos Left to Right: 1996 – Michelle Giammichele The Lady of the Camellias Shane, Ben, Sakis; 2008 – Clare Morehen and Alex Wagner – Photo by Ken Sparrow; 2013 – Queensland Ballet Soloist Lisa Edwards as Myrtha, Queen of the Wilis in Giselle – Photo David Kelly; 2017 – Bespoke – Amy Hollingsworth’s Glass Heart

1996 1999 1997–98 2008 2006

—

— QB embarks on its first European

tour, visiting seven cities in Germany and Switzerland. The Company is enthusiastically received.

— Collins leaves QB, saying of his 19 years as Artistic Director, “It was a great gift to be able to develop the Company.”

French-born François Klaus is appointed

Artistic Director and Chief Choreographer, bringing experience from periods as a

Principal Dancer of Hamburg Ballet, Artistic Director of Switzerland’s Bern State Ballet and his own company, Ballett Art.

— With Harold Collins as Artistic Director,

— Klaus and Artistic Associate Robyn

QB embarks on a major international tour

White establish the Professional Year

visiting 26 cities across the USA. New York

(PY), a training program for talented

Post dance critic, Clive Barnes, declares,

young dancers who wish to pursue a

— In December, a production milestone is

“…the Queensland Ballet is absolutely

professional career in classical ballet.

achieved with the Company presenting its

packed with dance talent.”

Over the ensuing years, a significant

first full-length production of Swan Lake,

number of PY graduates are accepted

choreographed by Klaus with the traditional

into the Company.

White Act after Marius Petipa/Lev Ivanov.

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Every step a celebratory story

— In 2010 QB marks its 50th anniversary with celebratory events throughout the year, including Keeping the Dream Alive, an exhibition of costumes and archives

—The 60th anniversary year begins with the opening of the new Queensland Ballet Academy at Kelvin Grove State College.

QB’s 2020 Season is postponed to 2021 following the global COVID-19 pandemic, however, the 60 dancers choreograph and film 60 new works during the isolation period and these are released as a digital season throughout June. They are the centrepiece of the Company’s

at QPAC’s Tony Gould Gallery, and in

— The annual Bespoke season is launched as a

Keep the Magic Alive fundraising

platform for new works, creative collaborations

campaign, which raises $1 million.

and artform innovation. In November, the

60 dancers: 60 stories is developed

Queensland Government announces it will

into a stage production, performed at

fund a $10 million, purpose-built facility

various southeast Queensland locations,

for Queensland Ballet Academy at Kelvin

and is viewed as a huge success, both

— Queensland Ballet enters a period

Grove State College. 18 years after his last

artistically and emotionally.

of rapid growth, with all performances

professional performance, Li Cunxin returns

in its Brisbane season selling out and a

to the stage in the role of Dr Drosselmeyer in a

record number of season ticket holders

special performance of The Nutcracker raising

supporting the Company and an expanded

funds for the Company.

2011 Queensland Ballet tours to China, performing Klaus’s The Little Mermaid in eight cities.

2012 2013 2019 2021

community program launched.

— QB relocates to temporary premises

— Queensland Ballet will celebrate its

in West End in readiness for the

rich history on stage with the 60th

redevelopment of the Thomas Dixon Centre.

Anniversary Gala.

By year’s end, work is well underway on this transformational infrastructure project.

The redeveloped home of Queensland

Ballet and new community and

— Following an international search, QB

Li Cunxin receives an Order of Australia

performing arts hub, the Thomas Dixon

announces Li Cunxin as its fifth Artistic

(AO) in the Queen’s Birthday Honours List

Centre, is scheduled to open in late 2021.

Director. Klaus retires to a standing

2019 for his distinguished service to the

ovation at the final performance of The

performing arts, particularly to ballet, as a

Sleeping Beauty.

dancer and as an Artistic Director.

queenslandballet.com.au

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YOUR SEASON 2021 GUIDE

2017

2020

2010–11

Celebrate with Queensland Ballet as we present an exceptional retrospective telling our evolving story of 60 years of dance. The 60th Anniversary Gala honours a vibrant history and showcases our exciting future as excerpts from five beautiful productions come alive once more. The production pays tribute to each of Queensland Ballet’s five Artistic Directors: Charles Lisner OBE, Harry Haythorne MBE, Harold Collins MBE, François Klaus and Li Cunxin AO. Step into a wealth of dance productions created and performed since 1960, including excerpts from Cloudland and Chopin Pas de Deux.

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INTERVIEW Mia Heathcote Senior Soloist

The Sleeping Beauty 4–19 June 2021 Lyric Theatre, QPAC

Fairytale life They are the stories that have fascinated people for millenia; tales of faraway kingdoms and mysterious woodlands, a world where the animals speak and evil temptresses place spells on innocent youth.

—

QUEENSLAND BALLET

Proudly presented by Sealy of Australia

Creatives Choreographer Greg Horsman after Marius Petipa Composer Pyotr Illyich Tchaikovsky Conductor Nigel Gaynor Costume and Set Designer Gary Harris Lighting Designer Jon Buswell Presented in association with Queensland Symphony Orchestra Performance Dates Friday 4 June — 7.30pm Saturday 5 June — 1.30pm & 7.30pm Tuesday 8 June — 6.30pm Q&A* Wednesday 9 June — 6.30pm Thursday 10 June — 1.30pm & 7.30pm Friday 11 June — 7.30pm Saturday 12 June — 1.30pm COMPANY CLASS, Q&A* (AUSLAN), AUDIO- DESCRIBED* & 7.30pm Tuesday 15 June — 6.30pm Wednesday 16 June — 6.30pm Thursday 17 June — 7.30pm Friday 18 June — 7.30pm Saturday 19 June — 1.30pm & 7.30pm Single Ticket Prices Premium Reserve Tuesday — Thursday Adult $120 Concession $100 30yrs & under $85 Child $75 Friday — Saturday Adult $140 Concession $120 30yrs & under $90 Child $80 Save up to 20% with Season Tickets See page 29 Book tickets at queenslandballet.com.au *Please refer to page 29 for further information on our accessibility offerings.

A transaction fee of $7.20 applies per transaction.

Selected ticket delivery methods may incur an additional charge.

Words by Ellen Gilroy Photo Senior Soloist Mia Heathcote

by Jez Smith Creative Direction Designfront

— Read aloud in dimly lit rooms as children dreamed away the night, the tales of fairy godmothers, distressed damsels and cursed swans lend more to the imagination than pure fantasy.

For QB Senior Soloist Mia Heathcote, between “Once upon a time” and “happily ever after” is an underlying message that love is a powerful force that can conquer evil.

Since joining the Queensland Ballet Company in 2014, Mia has had her fair share of performing some of the most romantic and tragic ballets: from the role of Juliet in Sir Kenneth MacMillan’s Romeo and Juliet, young Clara in Graeme Murphy’s The Nutcracker, and the Corps de Ballet in Greg Horsman’s The Sleeping Beauty.

“The Sleeping Beauty is innately a story of love. Through the contrasting characters and their journeys we witness love conquer evil,” says Mia. “I think that’s what makes these ballets so emotionally captivating. Through the beauty and charm of the fairytale is a discovery of what it means to be human.”

However, despite stepping into the shoes of these timeless characters, Mia didn’t grow up idolising princesses and dreaming about happily ever after.

“I wasn’t really a fairytale kid,” says Mia. “But when I was introduced to these stories as ballet, I really saw the human dramatic elements that were woven into the fairytale. I’ve always had an appreciation for stories that display human emotion.

“Even though we don’t always get a happy ending in the real world, when we see it realised in these stories, it gives people a glimmer of hope that things can be good in the end.”

In the late 19th century, French choreographer Marius Petipa transformed these iconic tales from the written and oral word into evening-length ballets. It was the beginning of a symbiotic relationship between ballet and the otherworldly.

The pointe shoe lent itself to the magic, a simple object that transformed ballerinas into ethereal fairies and princesses that floated seamlessly across the stage. Some of today’s most beloved ballets originate from Petipa’s creations; from The Nutcracker and Swan Lake, to perhaps the pinnacle of Petipa’s repertoire, The Sleeping Beauty.

The story of The Sleeping Beauty dates back centuries; the tale of a princess who is cursed to sleep for 100-years by a spiteful and wicked fairy; the only remedy to her tragic slumber is true-love’s kiss. Premiered in 1890 at the Maryinsky

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Theatre in St Petersburg, Russia, the creation of The Sleeping Beauty would be the first collaboration between Petipa and world-renowned Russian composer Pyotr Ilyich Tchaikovsky.

The dynamic partnership delivered a magnificent ballet that enchanted audiences, telling the story like never before.

“Ballet and fairy tales go hand-in-hand. Both are so ethereal and otherworldly, it’s hard to not escape into a different world when you watch them.”

Mia performed in Queensland Ballet’s production of The Sleeping Beauty in 2015. Choreographed by Greg Horsman, Mia’s role within the Corps de Ballet was physically and technically demanding. With casting unannounced for the 2021 production, the possibility of dancing the lead role Aurora both excites and terrifies Mia. “The role of Aurora is one of the most challenging roles within the ballet repertoire,” says Mia. “Everyone I have spoken to has said it is hands-down the most challenging classical role, but also the most rewarding.

“Every sequence has an intention and incredible attention to detail. It pushes you to the limit.”

From Swan Lake to The Sleeping Beauty, fairytale ballets are incredibly popular, with tickets snapped up to see the tales reimagined through movement. Even as the modern world progressed and society’s values and ideals shifted, the story of an evil fairy’s spell endures.

“Audiences can expect a really beautiful narrative of juxtaposing characters. There will be the innocence and the evil, and the magic of ‘happily ever after’,” says Mia. As for the popularity of fairytale ballets, Mia says it all comes down to familiarity.

“These stories have been around for centuries, they are iconic and historic,” says Mia. “There is no pressure to read the synopsis before the curtain rises. We can fully immerse ourselves in the production without getting lost.

“I suppose that’s why it’s called a classic.”

— Mia will perform in The Sleeping Beauty from 4-19 June 2021 at Lyric Theatre, QPAC. For information and tickets, visit queenslandballet.com.au

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much loved

story

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YOUR SEASON 2021 GUIDE

Every step a

QUEENSLAND BALLET

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Every step a courageous story

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A woodland adventure Queensland Ballet invites its littlest audiences to go on a woodland adventure in a brand-new retelling of the favourite children’s classic, Peter and the Wolf.

FEATURE Greg Horsman Chief Ballet Master and Director of Artistic Operations and Choreographer

Peter and the Wolf 14–21 September 2021 Thomas Dixon Centre —

Performance Dates Tuesday 14 September — 6.30pm Wednesday 15 September — 11.00am & 1.00pm Thursday 16 September — 11.00am & 1.00pm Friday 17 September — 11.00am & 1.00pm Saturday 18 September — 11.00am RELAXED PERFORMANCE*, 1.00pm & 4.30pm Monday 20 September — 11.00am, 1.00pm, 4.30pm & 6.30pm Tuesday 21 September — 11.00am, 1.00pm, 4.30pm & 6.30pm

— Queensland Ballet’s Greg Horsman has created an immersive live theatre experience for children and the young at heart that brings story, ballet and symphonic music together, to capture the Wolf who is causing havoc in the countryside.

Peter and his friends Bird, Cat and Duck will come to life through dance as they try to capture the Wolf who is causing havoc in the countryside. Original score composer Sergei Prokofiev’s music lends itself to dance, from the trilling of the flute as the bird, to the grumpy bassoon for the grandfather.

The ballet pays homage to the 1960 season of Peter and the Wolf, choreographed by QB Founder and former Artistic Director, Charles Lisner OBE. However, Greg’s challenge has been to add to the story to create a 50-minute-long production.

“All of the narration that people know and love will be in it, but there’ll be additional narration because of the extra story elements which I’ve added, all told through ballet,” Greg says.

Greg worked with the Jette Parker Young Artists to bring the classic fairy tale to life. He took a few liberties in extending the story, which has been given a modern twist and includes a scout adventure with Peter and his grandfather to the zoo.

And he’s collaborated with inhouse QB creatives, including Music Director Nigel Gaynor who arranged the scores, Head of Wardrobe and Resident Designer Noelene Hill, and external Set Designer Joshua McIntosh of The Little Green Road to Fairyland fame.

The original score runs for around 20 minutes, so Greg needed almost twice the amount of available music to fill the production.

“After I’d settled on what I wanted to do with the storyline, I needed more music. I wanted to use Sergei Prokofiev because he wrote the original Peter and the Wolf suite,” Greg says.

“I did a lot of research and found that the composer had

written music for children, composed the year prior. It was a piano score, and I found the music within that fitted perfectly.

“My process is to spend a lot of time sorting out the music, putting it into an order and then I take it to Nigel (Gaynor) to arrange for a small ensemble.”

Greg envisions that this production will feature a woodwind quintet with all the instruments required to play the animals, plus a violin for Peter, a piano and percussionist.

Prokofiev’s work was written as an introduction to the orchestra for children, which fits perfectly with QB’s My First Ballet series, set to inspire today’s young and curious young minds.

“Producing arts specifically for young audiences is so important to Queensland Ballet. And not to build the audiences of tomorrow, but creating art for children to enjoy at the age they are right now is the key. They really respond to it - and this one-act ballet lends itself beautifully to a young audience, with a few jokes intended for the adults.

“One of the things that I love about Toy Story and Shrek is both adults and children in the audience enjoy the story. They might both get different things out of it, but they both enjoy it,” Greg says.

Peter and the Wolf will charm audiences of all ages as they venture into the captivating world of one of the world’s most loved fairytales.

There will be 30-min pre-performance workshops for 2-8 years before all performances except Tuesday 14 September 6.30pm Single Ticket Prices All tickets $30 Family (2 Adults & 2 Children) $110 Groups (6+) $20 School Groups $20 For QPAC Group Sales call 07 3840 7466 or email groups@qpac.com.au Save up to 20% with Season Tickets See page 29 Book tickets at queenslandballet.com.au Become a QB Junior member qbyouthmembership.com.au *Please refer to page 29 for further information on our accessibility offerings.

Selected ticket delivery methods may incur an additional charge.

Words by Meryn Cooper

— Join Peter and his friends from 14–21 September at the newly redeveloped Thomas Dixon Centre.

Book your tickets at queenslandballet.com.au

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Photo Jette Parker Young Artist Callum Mackie by David Kelly Creative Direction Andy Gepp Illustration by Niqui Toldi

YOUR SEASON 2021 GUIDE

Creatives Choreographer Greg Horsman Composer Sergei Prokofiev Music Arranger Nigel Gaynor Costume Designer Noelene Hill Set Designer Joshua McIntosh

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INTERVIEW Cutting edge contemporary Rani Luther Ballet Mistress/Creative Associate/ Choreographer

Bespoke

Celebrating contemporary dance and our refurbished home – the Thomas Dixon Centre

8-23 October 2021 Thomas Dixon Centre —

QUEENSLAND BALLET

Creatives Choreographers Natalie Weir, Jack Lister, Paul Boyd, Rani Luther, Daniel Riley Performance Dates Friday 8 October — 7.30pm Saturday 9 October — 1.30pm ADULT MASTERCLASS & 7.30pm Tuesday 12 October — 6.30pm Q&A* Wednesday 13 October — 6.30pm Thursday 14 October — 7.30pm Friday 15 October — 7.30pm Saturday 16 October — 1.30pm YOUTH MASTERCLASS & 7.30pm Sunday 17 October — 1.30pm Tuesday 19 October — 6.30pm Wednesday 20 October — 6.30pm Thursday 21 October — 7.30pm Friday 22 October — 7.30pm Saturday 23 October — 1.30pm YOUTH MASTERCLASS & 7.30pm Single Ticket Prices All tickets $65 Save up to 20% with Season Tickets See page 29 Book tickets at queenslandballet.com.au Discover more with QB LearningHUB queenslandballet.com.au/community/learninghub *Please refer to page 29 for further information on our accessibility offerings.

— There’s a piece of music in 2021’s Bespoke season that is guaranteed to make your hair stand on end.

Written specially for the program by local composer Robert Davidson, it is just one of the highlights of creating a brand-new work for QB’s annual contemporary program says Rani Luther, QB’s Ballet Mistress and Creative Associate/Choreographer and Bespoke facilitator.

We spoke to Rani between rehearsals for her new work From. To. Here. to chat about that piece of new music, the conception of Bespoke, and the drawcard of choreographing contemporary works for classically trained ballet dancers.

2021 will be QB’s third year of the contemporary Bespoke program. This is the second year of your involvement – what do you love about it?

I love the rawness and endless possibilities of our Bespoke season. Our big classical ballets which are so visually rich with sets and costumes offer a visual and auditory feast, whereas our contemporary works are usually more pared back providing a very intimate and transparent experience.

Both types of program complement the other I believe. In our Bespoke seasons we have the chance to see the dancers in a different way, where they are given the opportunity to try new things and challenge boundaries. It is also exciting to see a mixture of established and up-and-coming choreographers.

What can we expect from Bespoke at the Thomas Dixon Centre in 2021?

Our innovative inaugural season of Bespoke began in 2017 with cutting-edge choreography and use of high tech and digital elements. Performed at the Brisbane Powerhouse, Bespoke will now move to the Thomas Dixon Centre which is exciting as it is our own homegrown program at our own theatre. This space will offer so much flexibility and wow factor as it will be a state-of-the-art purpose-built theatre.

The program will be more bare, and it will be more raw, but it will still have a huge contemporary element. This is so fantastic for a visionary ballet company because the dancers

Natalie Weir’s role as QB’s Resident Choreographer is supported by Veronika Butta Creative development of Rani Luther and Daniel Riley’s works has been assisted by the Australian Government through the Australia Council for the Arts, its arts funding and advisory body.

Words by Cassandra Houghton Photo Company Artist Libby-Rose Niederer

by Jez Smith Creative Direction Designfront

are so versatile. We always strive for as much diversity as possible – it’s really important for us to balance the program with new and upcoming artists and established artists, as well as female choreographers - recently we’ve had Stephanie Lake, Lucy Guerin and Amy Hollingsworth, who was pivotal in the season’s conception. It is a real balancing act.

The dancers are all classically-trained ballet dancers – how do they feel about contemporary dance?

Overall, they love it. They are hungry to dance a diverse range of styles and techniques which constantly challenges them and keeps them growing and learning. Our repertoire certainly offers that variety, which is wonderful. For the most part our dancers have had experience in many

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different styles of dance, although predominately trained in classical ballet. What is so wonderful to see is the openness with which the dancers approach the creative process and how they work to their physical limits.

You are choreographing a piece for next year – how is it going?

It has been so inspiring to get into the studio to begin choreographing my new piece. I love the process and the dancers have been brilliant. For my new piece I chose to collaborate with local composer Robert Davidson. He wrote me a brand-new score and it is unbelievable! It makes my hair stand on end. We had one meeting for three hours where I talked through my ideas and visions for the work and three months later, he delivered the written score which sounds utterly amazing. I feel so lucky to have an original piece of music composed for my piece, so I am treating it like a jewel. And the fact it will be part of the Thomas Dixon Centre opening really relates to my ideas which explore the idea of what makes up our individual lives and the journey it takes to go from to here, to reach this present point in time. My process and the imagery have always come from the music, and because I have a classical ballet base, I utilise the classical technique of our beautiful artists. That is something Li and I believe in very strongly.

You have worn both facilitator and choreographer hats for Bespoke. Which one has your heart?

To be honest I see life in movement. I feel that it is a human trait and we all have a rhythm and a beat that resonates naturally to music, so I am really emotionally motivated and attached to that. I react and express myself through music, so I think innately I love choreography because it feels like the most natural way to express myself. In my roles as Ballet Mistress and Creative Associate it’s been such an interesting learning experience to facilitate the Bespoke season which has involved liaising with our production, costume, marketing and education department, plus be there for the choreographers - I loved it.

What else is exciting about Bespoke?

We start planning a season two or three years in advance and it’s testament to the quality and the regard people have for this company that we get so many expressions of interest from choreographers. People respect Li and the company so much, and he genuinely supports contemporary work. So I think this combination and the fact we as a company are so passionate about producing innovative works, really feeds us and connects greatly to our audiences and our wider community.

— Bespoke is scheduled to appear at the newly developed Thomas Dixon Centre 8-23 October, 2021.

To book tickets, visit queenslandballet.com.au

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YOUR SEASON 2021 GUIDE

Every step a dynamic story

QUEENSLAND BALLET

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Every step a gothic story

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INTERVIEW Love at first bite Deep dive into an eternal, gothic love story

Krzysztof Pastor Choreographer

Dracula 26 November– 4 December 2021 Lyric Theatre, QPAC — Proudly presented by Suncorp

“The dancers in Poland – in my company, I know them pretty well, which has pluses and minuses. There’s a risk because you know the dancer so you tend to go down one track a little bit, but in the case of Dracula, I was working with the company for the first time,” he recalls.

“It was a bit of a gamble you know…but it starts to work together somehow. I don’t prepare the choreography beforehand in terms of steps – it happens in the studio when we work together, and I must say in Perth I was very happy with the dancers. It was a very creative process and so inspiring, so it was nice.”

He also worked closely with the scenery and costume designers Phil R. Daniels and Charles Cusick Smith, and lighting designer Jon Buswell – people and elements he describes as essential to the production.

However, it has been the audience reactions that have been the most satisfying part of the Dracula journey.

“I started choreography in Holland, in Amsterdam with the Dutch National Ballet and there it’s a very sort of purist approach – that dance is dance and it has to be pure, and it has to be on some deep, deep subject,” he muses.

“But you know, in the end, Dracula is quite deep because it’s about this eternal love. When I began working with my friend Pawel Chynowski who wrote the libretto he wanted to go ahead with a sort of grotesque version and I said ‘absolutely not’…

I wanted serious, beautiful duets, because it’s about love, it’s about passion, it’s about being lost in a psychotic drama.

“So for me, it was a surprise that I enjoyed it so much, and when I read the reactions of the public – I see it’s an enjoyable performance and they feel the passion, and I’m happy.”

Performance Dates Friday 26 November — 7.30pm Saturday 27 November — 1.30pm & 7.30pm Tuesday 30 November — 6.30pm Q&A (AUSLAN) * Wednesday 1 December — 6.30pm Thursday 2 December — 1.30pm & 7.30pm Friday 3 December — 7.30pm Saturday 4 December — 1.30pm° & 7.30pm °OPEN COMPANY CLASS , Q&A*, CENTRE STAGE Single Ticket Prices Premium Reserve Tuesday—Thursday Adult $100 Concession $85 30yrs & under $65 Child $55 Friday—Saturday Adult $115 Concession $95 30yrs & under $75 Child $60 Save up to 20% with Season Tickets See page 29 Book tickets at queenslandballet.com.au Become a QBTeen member qbyouthmembership.com.au *Please refer to page 29 for further information on our accessibility offerings.

A transaction fee of $7.20 applies per transaction.

Selected ticket delivery methods may incur an additional charge.

Words by Cassandra Houghton

— Don’t miss this to-die-for production from 26 November – 4 December at the Lyric Theatre, QPAC. Book tickets at queenslandballet.com.au

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Photo Principal Artists Yanela Piñera and Victor Estévez by Jez Smith Creative Direction Designfront

YOUR SEASON 2021 GUIDE

— In the end, it all came down to love.

Polish-born Dracula choreographer Krzysztof Pastor is not usually in the habit of creating ballets based on such a commercial subject as vampires, but a passionate love story enduring through the ages proved an irresistible concept.

It was pitched to him in 2017 by West Australian Ballet (WAB) Artistic Director Aurélien Scannella, as a co-production between WAB and QB, and his first reaction was hesitant at best.

“Honestly, I can’t say I was a great fan of vampires – I hadn’t read Bram Stoker’s novel, I didn’t see (Francis Ford) Coppola’s movie, and I was reluctant to do a commercial subject, however, that proved to be a mistake because Dracula – I enjoyed creating it very much,” he says.

We’re chatting via Zoom on a Wednesday evening (early morning in Warsaw, Poland, where Krzysztof lives), and despite the distance it’s clear just how much he enjoyed it. With a huge repertoire of work behind him – notably In Light and Shadow (2000); Tristan (2006); The Tempest (2014); and Casanova in Warsaw (2015), and a lifetime as a dancer, choreographer and ballet director – most recently of the Polish National Ballet, it seems that choreographing Dracula was a surprisingly novel experience.

He found inspiration in the music by Polish composer Woljciech Kilar, a highly respected symphonic composer who had also delved into the film with his score for Francis Ford Coppola’s Dracula, as well as the dark, supernatural storyline.

“I wanted to make a piece about love, basically,” Krzysztof says, with the undercurrent of a smile.

“It’s about a passion which is so incredible that it hurts, it guides this Dracula to be a cruel murderer, you know? But on the other hand, a few hundred years later, he’s still in love with this Elizabeth and he’s so much in love that he doesn’t want her to become like him. So it’s the strength of love that is important – it’s so passionate.”

WAB premiered Dracula in Perth in 2018 to rave reviews and a popularity he found unexpected. ‘Bewitching’, ‘deliciously gothic’, ‘sensual’, and a ‘visual feast’ were just a few of the descriptions thrown around by adoring audiences.

He spent eight weeks choreographing with the company to get the production stage-ready, and he says the process was a little different to usual.

Creatives Choreographer Krzysztof Pastor Composer Wojciech Kilar Musical Arrangement Michael Brett Conductor Nigel Gaynor Music Performed by Camerata – Queensland’s Chamber Orchestra Costume & Set Designers Phil R. Daniels & Charles Cusick Smith Lighting Designer Jon Buswell A co-production with West Australian Ballet

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FEATURE A festive affair The Nutcracker 16–23 December 2021 Lyric Theatre, QPAC —

Combining the familiar, magical story, beautiful costumes, and a festive music score, QB’s tradition of presenting The Nutcracker each year offers an enchanting reminder that Christmas is just around the corner. Pas. Magazine sat down with Queensland Ballet dancers to delve into their favourite Christmas traditions, and the captivating features that make this festive ballet loved by so many.

QUEENSLAND BALLET

Creatives Choreographer Ben Stevenson OBE Composer Pyotr Ilyich Tchaikovsky Conductor Nigel Gaynor Costume Designer Desmond Heeley Associate Costume Designer Noelene Hill Set Designer Thomas Boyd Lighting Designer David Walters Presented in association with Queensland Symphony Orchestra Performance Dates Thursday 16 December — 7.30pm Friday 17 December — 1.30pm° & 7.30pm °RELAXED PERFORMANCE* Saturday 18 December — 1.30pm° & 7.30pm °Q&A (AUSLAN)*, AUDIO-DESCRIBED* Tuesday 21 December — 1.30pm & 7.30pm Q&A Wednesday 22 December — 1.30pm & 7.30pm Thursday 23 December — 1.30pm Single Ticket Prices Premium Reserve Tuesday­—Thursday Adult $120 Concession $100 30yrs & under $85 Child $75 Friday—Saturday Adult $140 Concession $120 30yrs & under $90 Child $80 Save up to 20% with Season Tickets See page 29 Book tickets at queenslandballet.com.au *Please refer to page 29 for further information on our accessibility offerings.

A transaction fee of $7.20 applies per transaction.

Selected ticket delivery methods may incur an additional charge.

Which Christmas tradition do you look forward to the most?

“Clara. I always have so much fun being a kid again who is in awe of Christmas. The snow scene is always so magical!”

“In true Aussie fashion, my family and I always spend Chrissy Day at the beach, swimming, surfing, and comparing sunburns.”

— Chiara Gonzalez, Company Artist “The Lead Flower Couple in the second act holds a special place in

— Lucy Green, Principal Artist

my heart! During my first year in the Company, I was learning it at the back of the studio and one day the choreographer asked to see me rehearse it in front of him. I then got the opportunity to perform it in a few shows, and look forward to revisiting it with different partners every year.”

In Cuba, we actually celebrate Christmas Eve. We get together with the whole family each year and have a big traditional Cuban feast!

— Yanela Pinera, Principal Artist “Every year my mum gifts my brothers and I with a new decoration for the tree, so when we each have our own families, we have a Christmas tree covered in decorations!”

— Sophie Zoricic, First Company Artist

I am most thankful for…

— David Power, First Company Artist

“This Christmas season I am grateful for my health and the health of my loved ones. It has been a crazy year and I have never felt so connected to my family, friends and colleagues.”

“­ My favourite Christmas tradition is my mum’s chicken nibbles. Rain or shine they always make an appearance at Christmas Lunch.”

– John Paul Lowe, Company Artist

— David Power, First Company Artist

Favourite Christmas song?

“For me, Christmas is all about spending time with my family. I’m so thankful I get to go home and spend it with them every year.”

“All I want for Christmas is you” by Mariah Carey

— Chiara Gonzalez, Company Artist

— Georgia Swan, Soloist

“Snoopy’s Christmas” by The Royal Guardsmen

“This year has been a very real reminder that our everyday lives are precious and the pleasures, privileges, and freedoms we enjoy should never be taken for granted. I’m thankful for the health of my loved ones, and the love and support I receive from them every day.

Particularly my parents and brother who live in Melbourne, and who I hope to be reunited with very soon.”

— John Paul Lowe, Company Artist “Last Christmas” by Wham!

— Neneka Yoshida, Senior Soloist This production is supported by Valmai Pidgeon AM. Words by Chelsea Clark Photo Company Artist Chiara Gonzalez

by Jez Smith Creative Direction Designfront Illustration by Niqui Toldi

DID YOU KNOW…

Most-treasured Nutcracker role?

“Sugarplum Fairy. This role is such a dream role for all the little ballerinas, including myself when I was younger.

The combination of the beautiful music, fairy-tale costume, and elegant choreography creates a breathtaking atmosphere for the audience.”

— Lucy Green, Principal Artist

— Neneka Yoshida, Senior Soloist

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01 — The original production of The Nutcracker, dating back to 1892, was not popular amongst audiences and critiques. The scenery and costumes were described as tasteless, and the dancer who performed the role of Sugar Plum Fairy was largely criticized. Despite this initial performance, the ballet has gone on to become one of the most frequently performed ballets of all time.

02— The original score was composed

by Russian composer Pyotr Ilyich Tchaikovsky, and was performed as a 20-minute orchestral suite before it accompanied the ballet in December, 1892.

03 —The unique twinkling you may hear during “The Dance of The Sugar Plum Fairy” is created by a percussion instrument called a Celesta. It consists of piano keys, that cause small felt hammers to strike a series of metal bars when played. Tchaikovsky felt that the instrument’s bell-like tone was an appropriate “voice” for his Sugar Plum Fairy.

04 — Queensland Ballet has showcased Ben Stevenson’s production of The Nutcracker seven seasons in a row!

— Bring the family to The Nutcracker from 16-23 December, 2021 at the Lyric Theatre, QPAC

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YOUR SEASON 2021 GUIDE

Every step a magical story

QUEENSLAND BALLET

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Every step an inspiring story

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Arts in the outback The drive to take ballet to the bush

TOURING Tutus on Tour 24 July – 25 August 2021 Regional Queensland —

Performance Dates Saturday 24 July, 2.00pm & 7.30pm; Redland Performing Arts Centre Tuesday 27 July, 7.30pm; Gympie Civic Centre Friday 30 July, 7.30pm; Gladstone Entertainment Convention Centre Saturday 7 August, 7.30pm; Pilbeam Theatre, Rockhampton Tuesday 10 August, 7.30pm; Goondiwindi Waggamba Community Cultural Centre Saturday 14 August, 7.30pm; Empire Theatre, Toowoomba Wednesday 18 August, 7.30pm; Redcliffe Entertainment Centre

While access to arts opportunities is richly abundant in metropolitan areas, for those aspiring dancers in rural locations, the opportunities to explore and discover the artist within doesn’t come as easily.

Despite the limitations, the love and passion for dance is immensely strong in regional Queensland, with a community of dedicated and talented teachers, who devote themselves to keeping the passion for dance alive. Often those training to become dancers in rural locations have to leave home earlier to pursue their passion, and exhibit a greater drive to succeed,

of Queensland Ballet (QB).

Each year, QB tours to the heart of Queensland, taking its productions to the rural stages across the regions with Tutus on Tour and providing education and engagement programs.

It’s an initiative that stems from the phrase ‘Queensland at heart’; a core belief that has driven the company to expand and develop its regional outreach, strengthening the cultural fabric of the state and providing pathways for future artists.

Deeply embedded into QB’s DNA that we are Queensland’s ballet company, QB remains steadfast in providing arts for all, ensuring those who aspire to dance have the opportunity to do so, despite their geographical location.

In 2020, QB’s Community Engagement team packed their bags and hit the open road for an annual regional tour that would see them travel far-and-wide to 19 Local Government Areas over six weeks. With support from Shell’s QGC business and the Ergon Energy and Energex, the team engaged with nearly 3,000 participants from community classes, in-school workshops and teacher professional development programs.

While the Company provides the magic and wonder of a ballet production, it’s the engagement programs that maintain a strong presence in regional communities, sharing cultural experiences with people of all ages and introducing the artform to many people for the first time, both young and old.

For QB Education Manager Martha Godber, two months out of every year are spent road-tripping across outback highways where the only thing that breaks the vast, barren horizon are the passing kangaroos and emus. Having just returned from her seventh regional tour, Martha has made a plethora of regional connections, including returning students that have developed their passion for ballet over the years that QB has visited.

“Our regional tour is all about connection through access,” Martha says.

“As a State Company, we have a commitment to ensure what is accessible in the cities is accessible in country towns.”

with dance class not just down the road, but sometimes hundreds of kilometres away.

Twice a week, eleven-year-old Lucy Faggoter travels over an hour from her family’s 17,000-hectare cattle station in remote Longreach to attend ballet class. Since her first introduction to the artform five years ago, Lucy has dreamed of becoming a ballerina. While the imagery of glimmering theatre lights seems starkly different to the dry, red earth of outback Queensland, dance provides Lucy with a distraction from the harsh reality of Australia’s unforgiving weather, having spent two-thirds of her life in drought. When QB visited Longreach in August, Lucy and her mother Rachael made the 200-kilometre roundtrip to see QB Teaching Artists - all former dancers, in action.

Participating in a workshop led by these Teaching Artists would become a defining moment.

“It’s a buzz for Lucy to meet the ballerinas she could one day see performing on stage,” says Rachael.

“Lucy sees them not only as ballerinas, but as real people who have worked hard to get where they are, and that is the magic of possibility for Lucy. It sends the message that if you work hard enough, it could be her or anyone she knows on that stage,” Rachael added.

The magic of possibility makes the total four-hour journey toand-from weekly ballet classes worthwhile for Lucy and her mum.

While it may seem the regional tour is all about learning new skills and technique, the real motive is to ignite inspiration through dance. In the years to come, QB aims to expand its touring route to encompass more regional areas, hopeful to inspire more people to chase their dreams, just like Lucy.

“It makes you feel like anything is possible,” says Lucy.

“Like one day I could be one of them.”

— For more information on Queensland Ballet's regional programs, visit queenslandballet.com.au/regionalprograms

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Thursday 26 August, 7.30pm; Brolga Theatre, Maryborough Tutus on Tour Queensland Ballet dances across the state for a series of spectacular performances in Tutus on Tour. Bringing ballet to Regional Queensland, Tutus on Tour includes performances from past and present repertoire, in celebration of Queensland Ballet’s 60th anniversary.

For more information and to book tickets visit queenslandballet.com.au Community Community classes, in-school workshops and teacher professional development sessions delivered in each location.

For more information visit queenslandballet.com.au/community

Words by Ellen Gilroy Photos (opposite) Company Artist Tonia Looker by Jez Smith Creative Direction Designfront (above) Lucy Faggoter in Longreach

YOUR SEASON 2021 GUIDE

— In 1961, The Lisner Ballet Company (now Queensland Ballet) embarked on a gruelling 18-week tour of Queensland and New South Wales.

Funded by the New South Wales Arts Council, Lisner, accompanied by five of his dancers and five ex-Borovansky dancers, journeyed to 84 towns across 14,000 kilometres of outback roads in a semi-trailer that housed all of their scenery, costumes, lighting equipment and sound systems. It was the Company’s first-ever regional tour, and the beginning of a longstanding commitment that 60-years on remains at the core

Friday 20 August, 7.30pm; Logan Entertainment Centre

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ACADEMY Christian Tátchev Academy Director

Aspire 5-7 August 2021 Thomas Dixon Centre — More information coming in 2021

Queensland Ballet Academy Gala 13-15 August 2021 Thomas Dixon Centre

QUEENSLAND BALLET

— Performance Dates Friday 13 August — 12:30pm & 7.30pm Saturday 14 August — 1.30pm & 7.30pm Sunday 15 August — 1.30pm Single Ticket Prices Premium Reserve Friday — Saturday Adult $60 Concession $50 30yrs & under $45 Child $40

Queensland Ballet Academy Summer Soirée 9 December 2021 — 7.30pm Lyric Theatre, QPAC — Single Ticket Prices Premium Reserve Friday — Saturday Adult $70 Concession $60 30yrs & under $55 Child $50 Save up to 20% with Season Tickets See page 29 A transaction fee of $7.20 applies per transaction.

Support Us We warmly welcome the opportunity to have a conversation with you about your personal interest in Queensland Ballet Academy’s future.

Join with us; together we can ensure a world-class training ground for the next generation of Artists. Contact Queensland Ballet Foundation at foundation@queenslandballet.com.au or phone 07 3013 6666.

Photos Queensland Ballet Academy Pre-Professional dancers by David Kelly

2021 IS SHAPING UP TO BE A SHINING YEAR FOR QUEENSLAND BALLET ACADEMY. 18

“Without the support and encouragement I have received, I may not have the opportunities I have today, and I am forever grateful for them.”

— Charlie Young, Senior Program Level 3 student & ADFAS Award Recipient

— From January onwards, our full-time professional training programs will span from Years 7 to Pre-Professional level, complemented by our new Foundation Program for students aged 8 – 11. The sky is the limit for our talented young dancers, and we are so proud to be welcoming new and returning students from all corners of Australia and abroad.

I am very much looking forward to welcoming our friends, supporters and the wider community to the Academy’s season performances.

The return of Aspire and Queensland Ballet Academy Gala will showcase the talent of our dancers and the choreographic strength of our team, and our first Summer Soirée – a collaboration of many artforms, is not to be missed! We will also be hosting several training events in 2021, such as the popular annual Summer Schools, our Elite Training Series, and our newest training opportunity; the Boys ONLY Workshop.

We are extremely grateful to our supporters and patrons, including all our scholarship donors and corporate partners, for enabling our students to reach their dreams. May the year ahead be filled with light, joy, and of course, dance!

Christian Tátchev Academy Director

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ACADEMY STORIES

Joshua

Joshua, 18 yrs Newcastle, NSW 2021 Pre-Professional Program (Second Year)

Erin

Callum

“I love the challenge of learning repertoire – my favourites are Cupid, Kitri and Raymonda dream. However, one of my greatest ballet experiences was performing as a child in the party scene of The Nutcracker. As the lights dimmed and the audience clapped, I ran on as the first person to enter the stage, clapping my hands to the music excitedly.”

“From a young age I have been inspired by watching dancers such as Li Cunxin AO, Mikhail Baryshnikov, Sergei Polunin and Steven McRae. I recently attended the Academy’s Boys ONLY Workshop, and the teachings of Mr Boyd and Mr Tátchev have ignited my new passion for ballet. I love the encouragement that my teachers give me so I can strive to achieve my best.”

Erin, 11 yrs Manila, Philippines 2021 Academy Program (Level 5)

Callum, 13 yrs Maroochydore, QLD 2021 Academy Program (Level 4)

Hugo

“I discovered my passion for ballet at 14, and it has since grown to become my safe place where I can express myself in a friendly environment. I now aim to inspire younger dancers and to impact my audience, similar to the dancers I have seen perform with Queensland Ballet.”

“I was exposed to and enjoyed the performing arts from a young age.

I tried music, painting and dancing until I settled on ballet at age 10.

I moved to Australia following the 2019 Asian Grand Prix. Mr Tátchev was on the jury and offered me a place at Queensland Ballet Academy.

I am very grateful for that.”

Meghan, 18 yrs Barossa Valley, SA 2021 Pre-Professional Program (First Year)

Hugo, 16 yrs Hong Kong 2021 Academy Program (Level 1)

Heidi

“Trying to describe why I love ballet is hard!

There is nothing else as satisfying, and it fulfils me. There are so many aspects, styles and techniques, and there is never nothing to work on. Without the self-discipline, strength and artistry that ballet has taught (and is teaching!) me, I know I would feel unhappy. However hard ballet gets, I cannot live without it.”

Heidi, 19 yrs Wellington, New Zealand Pre-Professional Program (Second Year)

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YOUR SEASON 2021 GUIDE

“I have been surrounded by dancing my whole life. I tried soccer, karate and gymnastics along the way, but ballet always stayed my passion. I am so inspired by the dancers and performances I’ve seen, and now as a PreProfessional Program student, my dream is to one day live and dance overseas.”

Meghan

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SUPPORT

QUEENSLAND BALLET

Rachel Walsh Head of Foundation and former Principal Artist of Queensland Ballet

“It’s a joy to work with exceptional and passionate musicians, dancers, choreographers, coaches, designers, skilled costume makers and many others to produce a unique and special experience for an audience.

I’ve seen how the combined arts in ballet hugely inspire people of all ages. I believe it not only moves us deeply, but motivates everyone to get passionate and creative in something they love, whatever it is. This is why I am bequeathing to our wonderful Queensland Ballet, who enrich the lives of so many Australians.”

— Nigel Gaynor, member of the Charles Lisner Bequest Circle

Philanthropy underpins all that we do at Queensland Ballet — Our vision to enrich lives through the beauty and magic of ballet is enabled by our family of supporters. Philanthropic gifts offer us both the opportunity and the responsibility to be visionary, to make the greatest impact and create a legacy for future generations to enjoy our artform.

We readily acknowledge that none of QB’s success would be possible without the deep and enduring care of our supporters – these generous, far-sighted benefactors have carried Queensland Ballet proudly into its 60th year. Our heartfelt thanks go to all of the donors who have literally helped us to ‘keep the magic alive’ in the uniquely challenging year that is 2020. To all our supporters who share our belief that art can lift the spirits of humanity, connect people, inspire young minds and give us hope for a great and bright future – our promise to you is that we will honour your gifts by using them to create the greatest possible impact.

Whether it is ensuring our dancers have beautiful pointe shoes, nurturing the ballet stars of the future, or helping us to create a legacy building for our art and community – philanthropy is at the heart of all that we do.

Direct your support to any of our inspiring initiatives, or allow us to use your gift where it is most needed. However you choose to support Queensland Ballet, we thank you wholeheartedly for your care and shared belief in our vision.

Every gift to Queensland Ballet helps us to create magic and enrich lives.

QB FOREVER—YOUR LEGACY Photo Principal Artist Yanela Piñera and Senior Soloist Joel Woellner by Dave Byrne

— Many who have been moved by the wonder and beauty of our artform have been inspired to leave a bequest to Queensland Ballet, helping us to safeguard this precious artform for future audiences to enjoy.

Bequests are invested in Queensland Ballet’s Endowment Fund, supporting future artistic, community and Academy programs. Your legacy enables us to plan with integrity, so that generations to come may enjoy remarkable ballet experiences in our artistically vibrant, inclusive community.

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BUILDING THE FUTURE — Help us to realise our vision for Queensland Ballet’s future through the redevelopment of the historic Thomas Dixon Centre into a landmark performing arts destination and cultural community hub. An inspirational environment where we will create, nurture and share our art and encourage wellbeing in everyday life, our new Thomas Dixon Centre represents an unwavering belief in the future of our artform, our community and our Company.

Join us in unlocking the possibilities of this world-leading arts centre and we will honour your support by displaying your personal dedication.

Take a Seat — In Thomas Dixon Centre’s beautiful new theatre, art, artists and audiences will connect. Dedicate a seat to show your own support or celebrate a loved one’s life and love of art.

“Why did I Take a Seat? Love. We adore being part of the audience at QB performances, and what better way to confirm our commitment to being part of the audience in the future! How to make this more special? Arranging it as a birthday surprise for my lovely wife Carmel. So it was the combination of my love for Carmel, and our love of Queensland Ballet, that made the decision easy.”

— Darren Brown

Dancers’ Dressing Room Stations — Support a Dancer’s Dressing Room Station and experience the thrill of a unique connection with our artists in the place where they prepare for performances and find private inspiration and focus.

— For more information visit queenslandballet.com.au/support or for a confidential conversation about your role in Queensland Ballet’s future, contact Rachael, Elise or Kristopher, QB Foundation team, by email foundation@queenslandballet.com.au, or phone 07 3013 6666

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YOUR SEASON 2021 GUIDE

I HAD THE RARE OPPORTUNITY OF FOUNDING AN INSTITUTION WHICH WILL MAKE A LASTING CONTRIBUTION TO ART AND GIVE PLEASURE TO COUNTLESS MILLIONS LONG AFTER I HAVE GONE.

Charles Lisner OBE Queensland Ballet Founder and first Artistic Director

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FUTURE Lucy Green Principal Artist

David Power First Company Artist

Sacred spaces

QUEENSLAND BALLET

Transformations and inspirations — Dressing Station stories —On any given night of a mainstage performance the dancers’ dressing stations are abuzz. After all, it’s where the magic begins.

Before mirrors bordered by spotlights, shiny black compacts and make-up palettes, hairpins, shoe tape and flower bouquets, emerge kings and princesses and vampires and fairies.

The dressing stations are their ‘zones’, their theatre home, and their place of pre-show camaraderie and character transformation.

Curious? We were too. As we prepare to open our redeveloped home at the Thomas Dixon Centre next year (incorporating a suite of new dressing room stations!), Pas. Magazine sat down with Queensland Ballet dancers to find out what really goes on behind these walls, and what the spaces mean to them.

Lucy Green, Principal Artist “They’re where the things we mask on stage- the chaos, the silliness, even the pain, all come out.”

Photos First Company Artist David Power and Principal Artist Lucy Green by David Kelly

— Dressing rooms have always had a sense of magic about them to me. When I sit at my dressing room station it generally marks the beginning of many transformations- from me to my character, from the street to the stage, and from the everyday to the momentous. I do love that sense of shedding myself, leaving the day behind and becoming someone else. It’s a ceremonial and soothing process and helps calm the nerves before curtain-up.

Above all though, dressing rooms are where enduring friendships are created. Where the big belly laughs are had, the secrets are shared, the grumbling is done, and where tears are inevitably shed. They’re where the things we mask on stagethe chaos, the silliness, even the pain, all come out. Sharing those honest moments with the women of Queensland Ballet is grounding, it builds resilience and gratitude and is a nice reminder that before we are dancers, we are all human. In a world where the pressure is very high, especially that which we place on ourselves, it’s wonderful to be part of a supportive, loving and fun team, coming together in a place that is just for us.

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David Power, First Company Artist “Dressing rooms are sacred places for performers, a safe place amongst the craziness of being on stage.”

— I never understood what it meant when my dad would say “your mum is just putting her face on” when they were getting ready to go out for dinner. Putting a face on made it sound like she was becoming a different person? A different version of herself ? It always confused me as to why someone would want to look in the mirror and see someone other than themself. I never really understood until I sat at my first dressing room spot in my debut production and, put my face on.

Dressing rooms are sacred places for performers, a safe place amongst the craziness of being on stage. My change room is where I can collect my thoughts, calm my nerves, share constant banter with my colleagues and ultimately put on the face of whoever I need to be for that performance.

My dressing room spot is organized chaos. I lay my makeup out in an almost obsessive spaced out way but not one thing has a specific spot. I love to have all my best wishes cards or gifts displayed around my spot to feel encouraged and present.

I also always have two or three different colognes. I have always worn different colognes when I perform, depending on the role I think a scent completes my whole process. It’s a selfish finale to my routine because everything else I do can be enjoyed by the audience, my makeup, my hair, my costumes all can be seen but my cologne is for myself.

I am so grateful for the memories made in my change room.

It’s a constant reminder of how special it is to work amongst like-minded people all working towards a common goal. To be a part of something that brings people joy is one of the highest privileges and I can’t wait to be back feeling the magic of that again soon.

— To support a Dancer’s Dressing Room Station, visit queenslandballet.com.au/buildthemagic, email foundation@queenslandballet.com.au or phone 07 3013 6666

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FUTURE

JETTE PARKER YOUNG ARTISTS

The Jette Parker Young Artists have a sister program at the Royal Opera House. Read more about it here: roh.org.uk/about/jette-parkeryoung-artists-programme

Did you know?

Every year, 12 gifted dancers from Australia and around the world are invited to join QB’s prestigious Jette Parker Young Artist Program.

YOUR SEASON 2021 GUIDE

— At the cusp of their professional careers, the dancers come to Queensland Ballet to hone their technique and artistry through elite mentoring and performance opportunities.

The Program is named in honour of Jette Parker of the Geneva-based Oak Foundation, which has provided cornerstone support since 2014. Oak’s enabling grant is matched each year by philanthropic gifts from a cohort of dedicated Australian benefactors who share our passion to nurture emerging talent.

In the wake of the COVID-19 pandemic, this year’s Young Artists faced challenges like no other. We’re very proud of how they rose to the occasion, and with guidance and mentorship from QB and the support of peers and families, they made the best of an incredibly difficult situation.

During lockdown, QB focused on keeping the dancers safe, fit, healthy and motivated. Each received an individual ballet barre and a Tarkett floor mat to enable them to continue their training effectively and safely at home. They participated in daily class and online coaching sessions, along with prerecorded classes and exercise programs. Despite their extended isolation, the dancers returned to our studios with commendable strength, fitness and improvements to technique.

While they were at home, all QB dancers were asked to create short works for our digital series, 60 dancers: 60 stories.

For our Young Artists, this was particularly exciting – as many had not choreographed before, it was a chance to experiment and build confidence in their personal artistic expression.

60 dancers: 60 stories became the centrepiece of a month-long digital fundraising drive, Keep the Magic Alive, with one of QB’s visionary donors generously committing to quadruple every dollar until our goal of $1,000,000 was reached.

These donations and accompanying well-wishes have been vital to sustaining QB during this challenging year.

When Queensland theatres began to re-open under COVIDSafe plans, the 60 dancers: 60 stories digital works were cleverly adapted into a one-hour live performance. It has now been enjoyed by audiences in Brisbane, the Gold Coast, Toowoomba and Caloundra, with a final season at the QPAC Playhouse in December 2020.

The Jette Parker Young Artist Program is entirely funded by philanthropic gifts. We are grateful to the donors who enable this important apprenticeship program, which has so far launched the careers of over 70 dancers. In 2020, graduates from the Program make up nearly half of the dancers in the QB Company.

— We welcome a conversation with you about your support of our Jette Parker Young Artists. Contact Rachael Walsh, Head of Foundation, by email foundation@queenslandballet.com.au or phone 07 3013 6666

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Words by Natasha Spong Photo Jette Parker Young Artist Ines Hargreaves

by Tamara Hanton

QUEENSLAND BALLET

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Lina Kim, Soloist

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PARTNERSHIPS

YOUR SEASON 2021 GUIDE

Dream Big Suncorp and Queensland Ballet: connecting communities with dance every day

— Sharing the magic of ballet has always been at the heart of the partnership between Suncorp and Queensland Ballet, with the annual Suncorp Wish Upon a Ballet Star initiative a shining example of that vision in 2014.

Renamed the Suncorp Dream Big Challenge in 2019, the competition has received thousands of entrants from regional Queensland over the years, fulfilling countless dreams of young dancers across the state, from the Gold Coast to Mackay and west to Mount Isa. At the core of Suncorp’s partnership with Queensland Ballet is a shared commitment to make dance and ballet available to all and to have a positive impact in communities across Queensland.

Mim Haysom, Executive General Manager, Brand & Marketing, says Suncorp is proud of what they’ve achieved with its partnership with QB, especially during the challenges and uncertainty of 2020.

“Suncorp prides itself on being there for our customers and communities when it really matters, both in the big moments and every day, as does Queensland Ballet,” she says.

“Since 2014, we’ve collaborated with QB to deliver a range of initiatives for communities and Suncorp customers including special backstage and behind-the-scenes opportunities, exclusive performances and money-can’t-buy experiences for Suncorp and QB customers.

“When we went into lockdown and QB was forced to postpone its entire performance season to 2021, we worked with the QB team to support initiatives that continued to connect people with dance.”

Suncorp helped QB offer a program of free online dance classes to help keep people active at home, and enabled QB to present a special Christmas in July screening of The Nutcracker on Channel Nine on Saturday 25 July, keeping spirits up at home by sharing a cherished story of festivity.

Suncorp and QB also launched the global competition #balletbeatdrop on video platform TikTok. Inviting dance lovers from around the world to share their dance moves, from ballet to hip hop, the competition helped spread the magic of ballet internationally, receiving nearly 1,000 entries and generating more than 160 million views.

In the dance studio category, a $5,000 cash prize and a three-hour in-studio workshop with two QB Junior Ambassadors was awarded to The Dance Academy from Maleny; a $5,000 cash prize was awarded to the winner of the Freestyle category; a merchandise pack was gifted to the winner of the international category; and ten standout entries were aired on TV during The Nutcracker screening on Channel Nine.

“In a year like no other, Suncorp and QB continued to achieve our shared vision to spread the magic of ballet and enrich lives by making dance accessible to all communities,” Ms Haysom says.

Words by Natasha Spong

— Are you a Suncorp Customer? Our Principal Partner Suncorp wants to reward you with memorable ballet experiences. Let us know you’re a Suncorp Customer when booking your tickets to receive exclusive ballet offers.

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Photo 2019 Suncorp Dream Big winner Mekonnen Knife by David Kelly

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DANCE HEALTH

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5 Tips to Improve Your Dance Health and Fitness

TIP

Good recovery is important for better performance.

Make sure you have good nutrition, hydrate your body well and get enough sleep.

Zara Gomes Head of Performance Health

“It is so important to look after your body by eating healthily. After a big performance, I love to have a big bowl of pasta for dinner, as it helps my body to refuel and recover. Every day we need good food to sustain our minds and bodies throughout our classes and rehearsals.”

Queensland Ballet’s Director of Performance Health, Zara Gomes shares her top five tips for dancers to improve their health and fitness. Zara has been a Dance Physiotherapist for over 20 years, and has worked with ballet and contemporary dance companies in Australia, the UK and Germany and toured internationally. She has worked with Queensland Ballet since 2011 to establish a strong Performance Health team, which supports the growing size and success of this creative company. Zara is passionate about enabling peak performance in elite dancers, injury prevention and improving health and wellness for all.

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QUEENSLAND BALLET

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TIP

Avoid comparing yourself to others.

TIP

Focus on developing your strength, just as much as stretching.

You should focus on individual development and only try to better yourself one day at a time.

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Focusing on your strength is just as important as stretching to develop your dancing.

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“A huge and common misconception is that female ballet dancers should not get involved in strength training as it will bulk your muscles, but this simply is not true.

I am a very hypermobile dancer and I find strength training really helps me to control my longer limbs and it reduces the risk of injury.”

TIP

Work on your cardiovascular and endurance fitness.

Being cardio fit helps you dance well, prevents injuries and helps your mood and self-confidence.

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Ballet (16+): Ballet is not only an exquisite artform. It also inspires strength, coordination and flexibility in every body.

Jazz, Contemporary & Fitness (16+): Ready to take the work out of workout? Then get ready for some high-intensity fun with these heart-pumping classes.

Seniors in Studio: Our classes for active adults are a great way to challenge the mind and body and make new friends who share a love of dance.

Dance for Parkinson’s:

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TIP

Don’t ignore pain or other symptoms.

Photo Teaching Artist Lily Spencer

by David Kelly

Take Your Best Move towards better health and fitness and join a Queensland Ballet class. Dance can offer physical, social and creative benefits to people of all ages.

At Queensland Ballet we offer a range of casual classes and courses that are inclusive of all ages and experience levels.

Catch “niggles” early so they don’t get worse and see your local health professional for help.

Vanessa Morelli First Company Artist

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Queensland Ballet is the first dance company in Australia to offer specialised classes for people living with Parkinson’s Disease (PD). This highly successful program helps participants reconnect with their power, creativity and grace.

Early Years Dance: Our early years dance program for children aged 1 – 5 years fosters creativity, musicality and movement in each child.

— For more information or to book a class, visit queenslandballet.com.au/classes

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MEMBERSHIPS Photo L-R: Tayah Ramsay, Mekonnen Knife, Kenzie Andrews, Taron Geyl

YOUR SEASON 2021 GUIDE

Prepare for your next move —A new membership program curated especially for 13-17 year olds to develop leadership skills, build confidence, learn from industry professionals and let dance prepare you for your next move.

Join Now qbyouthmembership.com.au

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QUEENSLAND BALLET

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Mali Comlekci, Company Artist

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Become a Queensland Ballet Season 2021 Ticket Holder Bookings

GREAT SAVINGS

ONLINE queenslandballet.com.au

Grande SAVE 20% Save up to 20% on Premium single ticket prices when you choose four or more ballets.

PHONE

Petite SAVE 15% Save up to 15% on Premium single ticket prices when you choose three ballets.

FAQs

GUARANTEE YOUR SEATS —Many Queensland Ballet performances sell out, however you can secure your Premium seats before single tickets go on sale. Online bookings also allow you to select your seats, so you know exactly what is available and can choose your performances and seats accordingly.

BACKSTAGE INSIGHTS —Season Ticket holders will receive our regular eNewsletter At the Barre so you can stay up-to-date with the Company’s latest news and special offers. Find out more about the choreography, costumes, sets, music and story from the creative team and dancers, before you attend the performance by visiting our website queenslandballet.com.au.

EXCLUSIVE SPECIAL OFFERS —Season Ticket holders have access to discounts and Special Offers from our Partners and Friends, including other Queensland arts companies. See queenslandballet.com.au for details.

CHOOSE FROM SEASON TICKETS

60th Anniversary Gala The Sleeping Beauty Queensland Ballet Academy Gala Peter and the Wolf Bespoke Dracula The Nutcracker BONUS SPECIAL EVENT

Queensland Ballet Academy Summer Soirée

30yrs and under tickets — available to those aged 30yrs and under at time of booking.

Child tickets — available to those aged 13yrs and under at time of booking.

Qtix 13 6 246, Mon–Fri, 9am–4pm

Seating — is numbered, reserved seats for all performances.

Booking fees — booking fees are included in all ticket prices. Selected ticket delivery methods may incur an additional charge.

Tickets are subject to availability —book early to avoid disappointment, as some events have limited capacity.

Priority purchase of additional single tickets — available to Season ticket holders before all tickets are released for sale in 2021.

Lost tickets can be replaced — phone Qtix on 136 246 to arrange a lost ticket voucher one week before your performance date. Replacement tickets can only be collected from Box Office on the day of the performance.

Ticket exchange — Season ticket holders may exchange their tickets to another performance of the same production, subject to availability. Qtix exchange fee of $3.50 per ticket applies.

Upgrade fees may apply if changing from a mid-week to weekend performance.

Pre-paid car parking — pre-book your car parking at QPAC (Lyric Theatre and Playhouse) with your season ticket at $23 per vehicle, per visit.

Please note lost car park vouchers cannot be replaced.

Wheelchair and access seating is available — if required, please advise when booking or contact Qtix 136 246.

Latecomers —may not be admitted to the theatre until a suitable break in the performance.

Ballet for all We welcome people of all ages and abilities to experience the joy of dance. These include the below tailored accessibility offerings.

Your Health and Well-being —For detailed Terms and Conditions including COVID-19 requirements, please visit queenslandballet.com.au/ terms-of-service

— Q&A Post-show panel discussion with creatives and dancers.

— Auslan Interpreted for selected Q&As — Audio Described Performance — Relaxed Performances provide a safe and welcoming environment for families with children or people living with autism spectrum disorder and other sensory needs.

— To purchase tickets, you must have a Qtix online account created an maintained with current contact details, including full name, mobile number, email address and residential address.

— It is a condition of entry that all patrons, invited guests and visitors supply their full name, phone number, email address or residential address for the purposes of contact tracing. For more details, please refer to our Privacy Policy at queenslandballet.com.au/privacy-policy

Concessions — available to full pensioners, Queensland Government Seniors Card holders, MEAA members, full-time students over 30yrs and unemployed (national Seniors Card not applicable).

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ISSUE #4 DECEMBER 2020

Season Ticket Benefits

TICKETS

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MEMBERSHIPS Memberships & Alumni

QUEENSLAND BALLET

Ballet is friendships onstage and off. Join us behind the curtain, and come closer to the artform you love as a special member of Queensland Ballet.

Youth Memberships

QB Friends

QB Junior

— QB Friends are welcomed into our world through a series of digital and physical experiences designed to demystify and delight. If you’re located in South-East Queensland, become a QB Friend to join us in person at special events, and receive access to our QPAC dress rehearsals with the opportunity to purchase a ticket.

— QB Junior is reinvigorated for 2021 with a whole new raft of benefits and experiences for our youngest dance fans, aged 6–12.

QBTeen — Older than 12? QBTeen is Queensland Ballet’s brand-new program combining dance and personal development, specially curated for 13 – 17-year olds.

QB Alumni

Photo Principal Artist Lucy Green

by David Kelly

— Queensland Ballet is the company it is today thanks to the contributions and commitment of our Alumni. Former dancers, students, board members, staff members and QB Friends committee members are invited to connect with us and join our Alumni community to celebrate our milestone season in 2021.

We’d love to hear from you.

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QB Friends Anywhere — In 2021, we are launching QB Friends Anywhere, our new digital membership featuring exclusive live streams from inside our studios, delivered to you wherever you may be.

We wish to acknowledge the support and encouragement of our loyal QB Friends throughout 2020 – thank you.

For more information on all of our membership offerings go to queenslandballet.com.au/memberships or phone 07 3013 6666

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Donors Our grateful thanks go to every donor and our Queensland Ballet Friends. Your support helps us to achieve our ambitious vision to enrich lives.

Visionaries The Ian Potter Foundation Oak Foundation Anonymous (1) Kay Van Norton Poche AO Mr Roy Thompson AC & Mrs Nola Thompson Artistic Director’s Circle Veronika Butta Barbara Duhig Ian & Cass George Lynn Harvey McLaren Family Mr Simon Mordant AO & Mrs Catriona Mordant Valmai Pidgeon AM Amanda Talbot Thomas Dixon Centre Enablers The Ian Potter Foundation Anonymous (1) Clive & Conchita Armitage Mr Trevor St. Baker AO & Mrs Judith St. Baker Mrs Barbara Bedwell Brett & Maria Clark Mr Tim Fairfax AC & Gina Fairfax Frazer Family Foundation Ian & Cass George Goldburg Family Foundation David & Loraine McLaren

Bruce & Jill Mathieson Terry & Lurleen Morris Stack Family Foundation Anne Symons Mr Roy Thompson AC & Mrs Nola Thompson Liz & Graeme Wikman Mr Steve Wilson AM and Mrs Jane Wilson Principal Benefactors Brett & Maria Clark Goldburg Family Foundation Bruce & Jill Mathieson Virginia McGehee Friend CP Morris Fund at the APS Foundation FA & MA Pidgeon Prescott Family Foundation Jane Stackpool and Allan Blaikie Stanbroke Liz & Graeme Wikman Queensland Advocates Philip Bacon AM Mr Trevor St Baker AO & Mrs Judith St Baker Simon Dyer Steve Johnston Tony Nunan Cathie Reid Graham & Jude Turner Mr Steve Wilson AM

Benefactors Anonymous (1) Mary & John Barlow Barbara Bedwell Darren & Carmel Brown Carole Byron Robin Campbell & Mark Parncutt John & Lynnly Chalk Mr Li Cunxin AO & Mrs Mary Li Frazer Family Foundation Dr Ben Duke & Ms Cate Heyworth-Smith QC Louise Hamshere Hayden Attractions Pty Ltd Di Jameson Khitercs Hirai Foundation Patricia Macdonald Memorial Foundation Roslyn Packer AC John T Reid Charitable Trusts Glen and Lisa Richards Family Foundation Beverley J. Smith Stack Family Foundation Mr John Story AO & Mrs Georgina Story Anne Symons Jette Parker Young Artists Supporters Oak Foundation Barbara Bedwell Brett & Maria Clark

Dr Ben Duke & Ms Cate Heyworth-Smith QC Mr Tim Fairfax AC & Gina Fairfax Frazer Family Foundation Goldburg Family Foundation Patricia Macdonald Memorial Foundation Mr Simon Mordant AO & Mrs Catriona Mordant CP Morris Fund at the APS Foundation Liz & Graeme Wikman Music Director’s Circle Mr Robert Albert AO & Mrs Libby Albert Paulette Carson Trust, managed

by Perpetual Trustees Dr Cathryn Mittelheuser AM Morgans Foundation Mrs Denise Wadley OAM Dr Valmae Ypinazar & Prof.

Stephen Margolis OAM Principal Dancers’ Circle Jim & Michelle Gibson Andrea & David Graham Gay Hull Andrew & Sue King Helen & Dan McVay Pamela Marx

Diane & William Rockloff, in memory of Charles Lisner OBE Sue Shepherd The Weerasinghe/Neaum Family Soloists’ Circle Anonymous (1) Clive & Conchita Armitage Lewis Bell Diana Bertalli Timothy Best Dr Frank & Dr Ailbhe Cunningham Michael & Manuella Darling Angie’s Fund Mr & Mrs Michael Gannon Allan Green Roy Hoskins Val & Mark Houston Lori Lowther Paula McLuskie & Nathan Sticklen Amanda Peden Marion Pender Ross & Jennifer Perrett Mr John B Reid AO & Mrs Lynn Rainbow-Reid AM Siganto Foundation Alex Talbot Claudia Talbot The Hon. Justice David Thomas & Mrs Jane Thomas Roger & Judith Sack Christine Wenkart

Dancers’ Circle Anonymous (4) ADFAS Brisbane Dr Pitre Anderson & Monique Anderson Russell Barnett Janelle Berlese Virginia Bishop David & Anita Carter Sharyn Crawford & Olive Oswald Philip Dubois Betzien Duffield Family Margot Finney Kylie Ganko Shirley Jackson J & M Johannessen Elizabeth Lukeij Katie & Paul McNamara Dr Andreas Obermair & Dr Monika Janda Kim Parascos Rhyl Row Kristy-Lee Seaton Mrs Robynne Siemon Kate & Darryl Sim Craig & Christine Spencer Nettie Stephenson & James McGrath Tony Sukkar AM & Josephine Sukkar AM

Charles Lisner Circle Realised Bequest Dr Alf Howard Kaye Brain Dance Education Fund Isabell Honor Hall Maynard Lesley Merle Williams Notified Bequest Anonymous (1) Dr Sheena Burnell Lucien Castand & Donald Robson Nigel and Diana Gaynor Ruth Lane Dr Valmae Ypinazar & Prof. Stephen Margolis OAM Dr James McGown Mr Peter Myska Kathleen Nowik Mrs Lynn Rainbow-Reid AM Jane Steinberg Supporters Gifts (2264)

Queensland Ballet Corporate Partners PRINCIPAL PARTNER

GOVERNMENT Queensland Ballet is assisted by the Commonwealth Government through the Australia Council for the Arts, its arts funding advisory body

Queensland Ballet receives financial assistance from the Queensland Government through Arts Queensland

YOUR SEASON 2021 GUIDE

MAJOR PARTNERS

SEASON PARTNERS

SUPPORT PARTNERS

OFFICIAL POINTE SHOE PARTNER

CORPORATE MEMBERS

RESTAURANT AND CATERING PARTNERS

CREATIVE AND INDUSTRY

EOS Surgical The George Group LMT Surgical Valley Plastic Surgery

Birmingham Royal Ballet, Camerata of St John’s, QPAC, Queensland Symphony Orchestra, Tourism and Events Queensland, West Australian Ballet

Thomas Dixon Centre Corporate Partners GOVERNMENT PARTNERS

Queensland Ballet Academy Partners

CAPITAL SUPPORT PARTNERS

GOVERNMENT SUPPORTERS

CORPORATE PARTNERS

FOUNDATION PARTNERS

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Photo Principal Artist Lucy Green and Senior Soloist Alexander Idaszak

by David Kelly

queenslandballet.com.au