#14
Contributors
Editor Cassandra Houghton
Design
Kat Keogh / Kleek
Queensland Ballet
Acting Artistic Director Greg Horsman
Executive Director Dilshani Weerasinghe
Contact
Queensland Ballet 07 3013 6666 mail@queenslandballet.com.au
Thomas Dixon Centre
406 Montague Rd West End, QLD 4101
Queensland Ballet Academy 07 3013 6665 academy@queenslandballet.com.au
101 L’Estrange Terrace Kelvin Grove, QLD 4059
IN THIS ISSUE
04–07
/pa/
A step or series of steps in ballet.
FEATURE Creating Liam Scarlett’s Dangerous Liaisons with Principal Artist Lucy Green
08 – 09
FEATURE
Love and Vivaldi: Exploring 4Seasons with Choreographer Natalie Weir
10–11
FEATURE
Kombumerri First Nations school workshops Bringing Kombumerri Dreaming stories to life in Queensland classrooms
12–13
FEATURE Inspired by Art
Choreographers Natalie Weir, Louise Deleur, and Paul Boyd discuss their new works for Soirée
14–15
FEATURE Ballet mums
Principal Artist Lucy Green explores the journey from ballerina to motherhood.
16–17
FEATURE QB Adventures
Join us for a brand new series of offstage adventures in 2025
Welcome to the fourteenth edition of Pas. magazine.
As we launch Season 2025 and look forward to a new year, there is much to celebrate. We’ve spent a lot of time thinking about how you might like to engage with your ballet company on and off the stage, and the Queensland Ballet team has come together to create a Season of love, seduction, wonder and joy. We’ve leaned into our revitalised home at Thomas Dixon Centre with more on offer than ever before, including our soon-to-be-opened Restaurant, Café, and hospitality offerings. And we’re excited to be deepening our Membership and QB Adventures experiences with the intention to unite us all through our love for culture and ballet.
This edition of Pas. Magazine holds a bittersweet flavour as it is our fourteenth and last edition. We had a dream of bringing to life a beautifully designed, elegant magazine that shared our many stories with you. After five years, the time has come to consider new ways to share those stories, which remain ever-vibrant and deserving. I’d like to thank the Pas. team especially Cassandra Houghton, Editor, and the writers and designers who have worked on it over this time, for curating an ever-compelling read that is always hard to put down. I know our artists, arts workers and our creatives have relished the opportunity to engage with you, our audience and our readers through Pas. Keep a look out for their voices in other diverse settings soon.
From all of us at your Queensland Ballet, thank you for your passionate support of us, on and off the stage.
Dilshani Weerasinghe Executive 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 Nations 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.
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.
What’s on
SEASON 2025
TALBOT
LIAM SCARLETT’S Dangerous Liaisons RETURNS
In conversation with Principal Artist Lucy Green
In 2019, Queensland Ballet premiered a daring and evocative new ballet, Dangerous Liaisons, to audience and critical acclaim. Created on our dancers by international choreographer and Queensland Ballet’s Artistic Associate (2016-2021) Liam Scarlett, it was deemed a narrative ballet masterpiece, and a decadent work for mature audiences.
The story was inspired by Pierre Choderlos de Laclos’s classic French novel which spins a complex web of intertwined characters that unravel in a story of seduction, revenge and betrayal. Beautiful costumes and sets were designed by Tracy Grant Lord, and a rich score featuring various works by French Composer Camille Saint-Saëns lies at its heart.
A highlight in the upcoming 2025 Season, Principal Artist and original cast member Lucy Green shares insight about the stunning ballet, including working with Liam to create the role of Madame de Tourvel.
This was the only ballet Liam Scarlett created solely on Queensland Ballet. Tell us a little about his process and what it was like to work with him?
I was actually fortunate enough to work with Liam on two creations as I was a dancer with the Royal New Zealand Ballet when he created his A Midsummer Night’s Dream. Liam was a once in a generation talent. When he was in the studio, it was as if the music was pouring out of him as he created the movement. He would have the pianist play a few phrases of music as he followed along with his score, and then the steps would come easily. Liam usually knew exactly what he wanted from each dancer and each moment and would demonstrate often. His extraordinary understanding of musicality and consummate ability to embody characters and emotion saw each story come alive and was a privilege to share in.
What did you enjoy about your character? What techniques did you use to become her?
I worked with Liam to create the role of Madame de Tourvel and danced both Tourvel and the Marquis de Merteuil. The two couldn’t be less alike! But I loved that. Tourvel is virtuous and intelligent and ultimately falls deeply in love with Valmont leading to an exquisite pas de deux that is just wonderful to dance. Merteuil is a hedonistic and narcissistic aristocrat who, alongside Valmont, uses calculated manipulation and games of debauchery to control others and amuse themselves. When her cruelness is made public her downfall is dramatic and thrilling to dance.
To get into each role, I did a lot of research. I read the novel and play and watched both the original film and Cruel Intentions which is based on the original story. From there it was a case of trusting my instincts and using the music, which was beautifully arranged by Martin Yates to convey the story and mood of each scene.
Photos by David Kelly
Green
Artist
Based on the French novel by Pierre Choderlos de Laclos, it’s an evocative ballet created for adults. How did the QB team work with the dancers to ensure they felt comfortable with the subject matter?
The ballet definitely deals with some dark and confronting themes, and it was important that everyone felt safe and able to vocalise any discomfort. Liam was skilled at creating the right environment in the studio and putting everyone at ease. I think the biggest factor though was that the ballet was so well crafted. As soon as the music played, and you began dancing, you felt like you were part of a different world. I very much felt like Lucy disappeared when I was rehearsing and performing and was replaced by Tourvel or Merteuil and then portraying those adult scenes didn’t feel awkward.
Favourite moment, movement or scene in the ballet?
Liam always created the most beautiful pas de deux work. Both the key pas de deuxs between Tourvel and Valmont, and Merteuil and Valmont are passionate, raw, and very memorable. Tourvel also has a powerful moment near the end of the ballet. Valmont has just completely broken her heart and so she grabs all the letters he’s ever written to her and hurls them at his chest, it feels very satisfying to do!
Any memories, funny mishaps from the 2019 season?
On opening night, Liam came backstage to say chookas to everyone and I remember him coming to me and saying, “do whatever you want out there”. This level of freedom and trust is uncommon, but Liam really believed in each dancer’s ability to be spontaneous and live in the moment.
What should audiences watch for?
The letters written and sent by various characters are an important narrative thread and symbolic element. At the end of the ballet, the ruined Merteuil pulls back the panelled walls surrounding her to reveal the text from her and Valmont’s shameful letters splattered in gold pen. It’s visually spectacular and as if Merteuil is being crushed by the weight of her words.
What’s special about this ballet – why should audiences see it in Season 2025?
Dangerous is special for many reasons, but my favourite thing about it is the way it makes you feel. It’s a very intimate work that deals with so many strong human emotions. The passion, seduction, authentic love, sorrow, temptation, fear and devastation are felt so strongly by the dancers and by the audience.
Oh, and the music! It’s gorgeous.
Don’t miss Dangerous Liaisons at the Talbot Theatre, Thomas Dixon Centre, 2 - 18 October, 2025. Season tickets are the best way to experience ballet in 2025! For more information and to
NATALIE WEIR’S 4SEASONS Love and Vivaldi:
It was Summer, 2013 when choreographer Natalie Weir, then Artistic Director of Expressions Dance Company (now Australasian Dance Collective), boarded a plane with her six company dancers to create magic with Singapore Ballet, (formerly Singapore Dance Theatre). Known for her collaborative choreography style, where she works with the dancers to create movement, they had only a theme of life, love, and collaboration, and a timeframe of less than four weeks. Vivaldi, and Max Richter’s reimagining of Vivaldi’s worki, would be the music.
“I don’t create movement in my head beforehand; I always go in with music and strong conceptual ideas and images, then I work with the dancers in front of me,” Natalie says.
“I always say it’s like a conversation, back and forth. I suggest things and sometimes we do it as a group and we pick movements from different dancers’ creative ideas, and it becomes something. The ideas initially are mine, but they’re shared. And sometimes a dancer will take me on a journey to a place I hadn’t expected which I love.”
4Seasons premiered at Ballet Under the Stars in Singapore; Natalie said it was a wonderful collaboration and one she was extremely proud of.
“The merging of Singapore Ballet’s classically based artists and the contemporary artists of EDC was so inspiring, to see how they interacted with each other, and two companies became one,” she said.
Since its starry-skied premiere, the work was re-visioned with EDC and China’s City Contemporary Dance Company, (CCDC) performed in Hong Kong, and journeyed across the ocean to Brisbane and Darwin. It was also performed by West Australian Ballet outdoors at the Quarry in 2021.
Now Queensland Ballet will get the opportunity to perform the stunning Singapore and EDC-created work within 2025’s Triple Bill, at QPAC’s Playhouse in June and July, 2025. Featuring a series of couples who represent the four seasons, adorned in metallics, rich reds and gold designed by Bruce McKinven, the work is a lush semi-abstract piece exploring how human relationships sometimes can be likened to the seasons;
“The optimism of Spring, the rumbling of Summer storms, the faded beauty of colour in Autumn and the peace and stillness of Winter,”
Natalie says.
And true to her choreographic style, she is looking forward to reworking elements of it to suit the dancers, many of whom she has worked closely with before.
“I know the Queensland Ballet dancers quite well, I’m excited about being back in the studio with them and maybe reworking some of it to suit their particular style,” Natalie says.
“They’re so beautiful and stunning. I think I can handcraft it a little more to make it personal to Queensland Ballet.”
She says the idea for 4Seasons came from a desire to create a piece to the familiar Vivaldi music that audiences would instantly connect with.
“As a choreographer, you get quite attracted to music and stories that are well-known because it’s something you anticipate the audience will connect with immediately,”
Natalie recalls.
The ensemble of 10 couples is punctuated by four duets, each representing a season. The ensemble are a powerful force, absorbing the emotion of each passing season.
There are many virtuosic moments, driven by the music.
The whole ensemble star in this work.
While Natalie knows the audience will enjoy the beauty of the music, it’s a choreographic work she’s particularly proud of.
“I hope people will read part of their own life story into some of it. It’s quite emotional, at times, and I think it offers a really beautiful experience,” she says.
“Combined with the stunning music, beautiful costumes and a strong core of dancers, I think there’s something there for everyone.”
Don’t miss 4Seasons in Triple Bill at the Playhouse, QPAC from 27 June - 5 July, 2025. Season tickets are the best way to experience ballet in 2025! For more information and to secure your tickets visit queenslandballet.com.au
BRINGING
Kombumerri Dreaming stories
TO LIFE IN QUEENSLAND CLASSROOMS
Queensland Ballet is collaborating with Dr Beth Tailby, a Kamilaroi woman and Auslan Languages teacher, and Kombumerri Traditional Custodian Max Dillon, in an exciting new project to bring culturally significant workshops into classrooms across Queensland. Rooted in First Nations storytelling, movement, and creative exploration, these workshops offer students an immersive way to connect with the rich traditions of the Kombumerri people.
The workshops have already made a big impact during their pilot phase at the Toogoolawah State School’s 2024 NAIDOC Week celebration and are quickly gaining momentum across the state. We sat down with our Education Manager, Kath Cadd, to discuss the inspiration behind these workshops, the creative process, and what they hope students will take away.
Tell us about the project and where the idea came from.
It began in 2016. Dr Beth Tailby, then Principal Project Officer for the South East Regional Office in Education and Training, and Project Officer Bob Smith collaborated with Queensland Ballet to develop the Dreaming Teacher Resource Kit. This resource highlighted the cultural distinctions between traditional dance and ballet, using fairy tales and stories from the Munanjali People. Beth reached out again to us earlier this year. She was planning In-School workshops for Toogoolawah State School’s 2024 NAIDOC Week celebration, and things quickly evolved from there. Beth and our Education team share a passion for creating engaging, accessible learning experiences that not only spark creativity but also support and empower teachers to incorporate First Nations content respectfully and confidently into their classrooms.
The project involved working with Kombumerri Traditional Custodian Uncle Max Dillon, who shared his Dreaming stories and language with us, following cultural protocols to ensure that the stories were used in a respectful, meaningful way. Together with Auslan Interpreter Kayla Lee, we co-developed two workshops— one for Prep to Year 2 (Kombumerri Dreaming – Morro Garrara) and another for Years 3-6 (Kombumerri Dreaming – Gwondo) — centred around the 2024 NAIDOC theme, Keep the Fire Burning. Beth drew on themes of pride, identity, and place, creating workshops closely aligned with Australian Curriculum content.
Who is involved in the project?
Dr Beth Tailby is at the heart of this collaboration. She’s a Kamilaroi woman and an Auslan Languages teacher for a cluster of schools around Toogoolawah. Her passion for bringing rich arts and cultural learning experiences to her students, even in regional areas far from major arts venues, shines through in this project. Beth was also one of the original authors of Queensland Ballet’s Dreaming education resource in 2016, so she has a long history of working with Queensland Ballet.
Another key figure is Uncle Max Dillon, a Kombumerri Traditional Custodian, who generously shared his Dreaming stories with us. His partner Sandra has also been part of this journey, and we’re honoured to have been given permission to use these stories as the foundation of the workshops. Uncle Max even recorded digital resources, so students and teachers can hear the stories directly from him.
Queensland Ballet’s Community and Education team worked closely with Beth and Uncle Max to ensure the workshops were both culturally respectful and creatively enriching for the students.
Where are the workshops being delivered? Are they going Queensland-wide?
Yes, they are! The first round of Kombumerri Dreaming workshops was piloted at Toogoolawah State School during their 2024
NAIDOC Week celebrations, with students from Harlin State School and Linville State School also participating. Since then, we’ve delivered 12 workshops across regions like Goondiwindi, Central Highlands, Fraser Coast, and Mackay—reaching nearly 300 students so far.
The workshops have already become a popular addition to Queensland Ballet’s suite of In-School programs. Teachers love that the content aligns with the curriculum while also providing valuable cultural learning experiences for their students. The feedback has been very positive.
Who delivers the workshops?
The workshops are delivered by Queensland Ballet’s team of Teaching Artists, who were trained to follow cultural protocols. Our Education Manager worked with Dr Tailby and Uncle Max Dillon to create lesson plans that are well-structured, respectful, and designed to engage students. Each session begins with an Acknowledgement of Country and the Kombumerri people, tailored to the students’ age group. We introduce the story, and students engage with themes like community, cooperation, and cultural pride through movement.
One beautiful aspect of the workshops is the use of Kombumerri words, such as binang (ears) and jinang (feet), which Uncle Max allowed us to include. It’s incredibly meaningful to be able to share his language with the students and encourage them to “listen with their binang and jinang” to the land, the stories, and each other.
What do you hope students will gain from these workshops?
The aim is for students to not only learn about First Nations stories but also to experience them in a way that builds
empathy, cultural awareness, and creative expression. Through the Dreaming stories, they explore themes like cooperation, communication, and individuality, and they get to express their understanding through movement.
Ultimately, we want students to leave the workshops with a deeper understanding of place, community and identity, and the confidence to express themselves creatively. We also hope that teachers feel empowered by the resources we’ve developed, which provide them with tools to include a First Nations perspective in their classrooms in a culturally safe and accessible way.
Is there anything else you would like to share?
We’re incredibly grateful to Dr Tailby for her collaboration and dedication to making First Nations content and learning frameworks accessible to all teachers and students. She’s been instrumental in developing a free Kombumerri Dreaming Teacher Resource Kit, which will be available in 2025 to help teachers bring these stories into their classrooms.
A huge thank you also goes to Uncle Max Dillon and Sandra for sharing their knowledge and stories with us. Their generosity has been invaluable, and it’s truly an honour to have their permission to share these stories with students across Queensland.
Lastly, we’re excited to continue working with Dr Tailby on future collaborations, which will include more workshops and professional development opportunities for teachers, ensuring that First Nations content continues to be shared widely and respectfully.
For more information or to book, visit queenslandballet.com.au/community
INSPIRED BY Art
Choreographers Natalie Weir, Louise Deleur, and Paul Boyd discuss their brand new works for Soirée
There’s a painting by acclaimed Australian artist William Robinson AO called Creation landscape: The dome of space and time 2003/04 that spans more than six metres in length and offers an immersive, awe-inspiring experience of Australian forestry. In a palette of green and violet hues, it encompasses not just the majesty of Springbrook National Park, submerged in the Gold Coast hinterland, but somehow, the history of the universe, too. The painting was the starting point for choreographer Natalie Weir’s new work for Soirée, and one of seven of Robinson’s art works her piece is inspired by. It was an easy first choice; Natalie says even the title was captivating.
“The breadth and beauty of William Robinson’s works is so incredible, and I found the stories behind them and his view of the world, and even the title – Creation landscape: The dome of space and time, so fascinating,” she says.
“I read this quote by the artist, ‘I don’t paint for any particular time — I just painted for the life we were passing through’. I loved this as a concept, and it has inspired the work.”
It’s the fourth year of Soirée, a unique fusion of art, live music by Camerata – Queensland’s Chamber Orchestra and world premiere dance featuring Queensland Ballet Academy. The program now has a following among the Brisbane arts and culture crowd.
Collaborating with dancers in the Pre-Professional Program (PPP), Natalie’s choreography explores seven standalone paintings, with Creation landscape: The dome of space and time at its heart.
“I love that painting. It’s a nature landscape and it’s like looking through a sphere to the future, past and present – sort of like morning, noon, and evening. It’s beautiful,” she says.
“Then there’s another one called Creation landscape – the ancient trees which feels very spiritual. The trees are all gnarly and I read the artist said that we pass through the landscape, but these trees have been there for hundreds or thousands of years. And I found that really inspiring — when you’re in a space like that you can almost feel the past. And so the women in that section will be veiled, almost like spirits in Giselle, like they belong to the bush and the spirits of the past.”
There are indoor paintings among her choices too, as well as a farmyard piece that exudes chaos.
“Robinson talks about how we forget to stop and look at the world around us; people are on their phones all the time, people are texting each other rather than sitting and having a conversation, and I found that interesting,” she recalls.
“Ultimately, these are all paintings of moments in time in the world and the universe, and for the work, I responded to how they affected me emotionally.”
Known for her collaborative choreographic style, Natalie has been working with the young dancers to create each section.
“I love working with these young dancers, they have no fear, they’re very open,” she says.
“They’ve been really involved with inventing movement and ideas and exploring partnering, and over time I’ve seen how brave they’ve become. They’re very creative and embrace the challenges I put forward - I love that energy.”
The Soirée program comprises premiere works from three celebrated choreographers, as well as a selection of student choreographic works. For Resident Choreographer and Head of Contemporary Dance at Queensland Ballet Academy Louise Deleur, Robinson’s landscapes also sparked inspiration.
“There is a calmness of nature about Dark Tide at Boganar; one where you gaze into the sky and drift with the clouds in your own meandering thoughts. Those clouds can drift on and storms can blow in,” Louise says.
While The Creation Landscape, Earth and Sea brings about a whirl of emotions and turmoil from the stormy horizon and its purple hues.”
In contrast, Choreographer Paul Boyd was captured by some of the artist’s etchings, including one of two people on a park bench (Feeding the birds 1977–78 etching 40 x 30cm). He says it immediately transported him to Paris.
“And once I delved into Robinson’s life, I discovered he was influenced by the French masters, without me having any inkling of that. It was amazing,” Paul says.
“Another of my favourites is a depiction of one of the most famous bridges in Paris, the Pont des Arts – there are so many characters on the bridge and so many stories (Pont des Arts, 2006 lithograph, 38.5 x 56.5 cm ed. of 80). I’ve chosen five artworks in total. The French scenes are very beautiful.
“Then, once I decided on the French theme and after delving into (French composer) Maurice Ravel’s Chamber music, I knew I had the complimentary music to the artworks.”
Of Soirée as a concept, Natalie says it’s a special experiencenot just for the audience, but the dancers, too.
“The paintings are always spectacular, and all the choreographers have the artist’s body of work to choose from so there’s a connection between the works,” she says.
“The opportunity for young artists to work with live musicians is incredible – it doesn’t happen very often and Camerata are fantastic. Having them there and that response the dancers have to the energy of the musicians and vice versa is so precious. It’s such a special evening.”
Soirée is a collaboration between Queensland Ballet Academy and Philip Bacon Galleries.
We are grateful for the support of Philip Bacon AO and Philip Bacon Galleries.
Don’t miss Soirée at the Talbot Theatre, Thomas Dixon Centre, from 5 – 7 December, 2024.
For more information and to secure your tickets visit academy.queenslandballet.com.au
Information on the 2025 Soirée season will be available soon – follow Queensland Ballet Academy on socials or check our website for updates.
Words Cassandra Houghton
FEATURE
Natalie Weir Queensland Ballet Resident Choreographer
Paul Boyd Queensland Ballet Academy Resident Choreographer and Ballet Master
Louise Deleur Queensland Ballet Academy Resident Choreographer and Head of Contemporary Dance
Photos
PG 12: William Robinson AO
by Mick Richards
PG 13: (left) Creation Landscape - Darkness and light 1998 and (right) Pont des Arts 2006 by William Robinson AO
Ballet
MUMS
In the lead up to a different type of leading role, Principal Artist Lucy Green explores the journey from ballerina to motherhood.
It’s difficult to think of a career where the demands of pregnancy and motherhood cause more obstacles than that of a ballerina’s.
The enormous physical and hormonal changes and inevitable extended absence from the stage present obvious difficulties, and then there’s the reality of balancing motherhood with taxing schedules, minimum maternity leave, and the fierce pressure of live performance.
It’s no secret that this is a journey I am currently embarking on and, luckily for me, gone are the days when ballerinas who fall pregnant are expected to throw in the towel. However, challenges do pervade, so I thought I’d take this opportunity to glean some insight from Queensland Ballet’s ballet mums Soloist Lina Kim-Wheatstone, Senior Soloist Alison McWhinney, and Principal Artist Yanela Piñera, who prove that whilst it may not be easy, returning to the stage as a mother is as rewarding as it is difficult.
Perhaps the first thing that struck me as a ballerina wanting to become a mum was the injustice of time. A dancer’s career is short - many hope to dance into their 30s; a few make it to 40, meaning the golden years of one’s dancing life often coincide with a decline in fertility.
For Lina, it was important to beat this decline.
“I always knew I didn’t want to delay starting a family until I was done with my dance career, I didn’t want to leave too much to chance,” she says.
Still, with a roster of exciting performances and career opportunities Lina found herself postponing. Then, in March 2020, COVID-19 struck, and we were all sent home, wobbly barre in tow, and no performance in sight. For Lina, this proved pivotal.
“I was always worried about taking so much time off and whether I could come back (to dance),” she recalls.
“COVID gave me a chance to see how my body reacted to a break and showed me I could do it. It was a huge confidence boost.”
Shortly after Brisbane’s lockdown Lina fell pregnant, and in 2021 became the first ballerina mum at Queensland Ballet to return to full-time performing, showing myself and others it was possible. Lina says there were both advantages and disadvantages to paving her own path.
“There wasn’t another dancer I could compare experiences with, but in a way, it worked, I didn’t have a preconceived model or shoe to fit into.
“Still, it was a big learning curve for both me and the Company.”
That learning curve continued for Queensland Ballet when three years later, Yanela Piñera welcomed her daughter into the world.
Despite always knowing she wanted to be a mum, Yanela says her career meant she also waited a bit longer.
“As a lead dancer you always want to do every ballet, every role and get as many opportunities as possible, so I waited a little longer,” Yanela says.
“I also moved to a new country and joined a new company in my late twenties so that impacted my decision to wait too.”
As I’ve progressed through my pregnancy Yanela has been on the other side, working hard to prepare for her first performance back. It’s been a privilege to learn from her journey which she describes as intense both physically and mentally.
She said she thought she would return earlier than she has.
“I thought I would be ready to return to the studio around three months postpartum but when Lucia was born everything changed and I wanted to stay with her,” Yanela says.
“To get back to the stage after having a baby is very hard. Mentally, you have to be patient and kind to yourself. I’ve been working very intensely to get back into shape and at the same time I’m discovering a new world as a mum which I’m loving so much.”
One month before Yanela became a mum, on the other side of the world, English National Ballet (ENB) First Soloist Alison McWhinney made a triumphant return to the stage in the notoriously challenging role of Queen of the Willis. Her daughter was 10-months-old.
Alison agrees the journey was harder than she expected.
“When I was pregnant, I was like ‘after six weeks I’ll be back!’ But I think I went into it a bit naively. I was just thinking about myself physically and not factoring in having a baby that wants to be on you 24/7.
“It was hard to say goodbye in the morning to go and dance. More than the physical it’s that identity shift and wrapping your head around your new life. Everything is turned upside down.”
At the time, ENB had a small handful of dancers with five- or six-year-old children. Alison explains studying their experiences wasn’t always helpful.
“Some of those dancers were influential but not in a good way, they came back to performing extremely quickly and gave me a false idea of how fast it should be. One dancer was in class one week postpartum!”
I can relate to the pressure Alison describes. Instagram ensures many of us have witnessed the seemingly superhuman ballerinas who return to the stage in a handful of months (take Lana Salenko, Principal Dancer at Staatsballett Berlin, who performed the notoriously demanding role of Kitri three months postpartum). However, this is a rarity. In the age of social media these stories are often the ones that get traction and sadly, many dancers have said they’ve led to unrealistic expectations for themselves and a fear those expectations will be placed on them by others.
Luckily for us, Queensland Ballet’s team of health professionals have worked hard to understand the barriers that influence a dancer’s safe and positive return to the stage and devised the Queensland Ballet Dancer Pregnancy and Return to Work Guideline. Importantly, the guideline acknowledges each stage will be different for each mother.
“As an aesthetic artform there’s a lot of social pressure to return to pre-pregnancy levels as quickly as possible,” says Head of Performance Health, Michelle White, “however, it’s essential the mother regains her strength, range of motion and fitness before returning to the rigorous schedule, and the timelines can vary greatly depending on the individual.
“It can be challenging for the mother to navigate the physical changes. We try to encourage dancers to let go of expectations around what they used to be able to do, and trust that they’ll get there eventually. It’s very rewarding to share in the mother’s journey particularly when she returns to the stage with her peers. But seeing them cuddle their little ones at the end of a show is so special.”
Each of the dancers I spoke with agreed their journey though pregnancy, motherhood and return to the stage was different from what they’d anticipated.
“At one point I was like if I can’t give ballet 100% I don’t want to do it at all. But then you find a way that you can. I don’t feel any worse for that, I just had to accept it and find a new version of me,” Alison says.
But clearly there is plenty of joy to be found.
“When I joined my first class back, the live piano started, and everyone was moving together... I actually cried because it was so beautiful,” Lina says.
When I asked each dancer how they would feel about their child pursuing a career in dance they all agreed it was most important their children followed their dreams and passions. It seems to me all three are modelling this perfectly.
QB ADVENTURESIntroducing
Imagine a program where art transcends the boundaries of the stage, where likeminded people can enjoy the thrill of exploration together, and where each step taken is towards a new cultural discovery. Through bespoke gatherings in renowned cities, intimate tours with iconic institutions, and even preparatory walks for the Camino de Santiago, QB Adventures takes members beyond spectatorship to become immersed in the global arts community. Each event is a passport to unforgettable encounters and sparking friendships — all united by a shared love for culture and ballet.
Here’s a look at what you can expect!
London Arts Immersion: June 2025 brings QB Adventures London, offering exclusive access to the Royal Ballet, Royal Opera, and the Royal Ballet School. This cultural immersion includes private rehearsals, backstage tours, and opportunities to witness the magic of London’s premier art institutions up close.
Noosa ALIVE Festival: At the July 2025 Noosa ALIVE festival, attendees will enjoy a curated experience with dinner, exclusive shuttle service, and post-performance drinks following a mesmerizing show by the Jette Parker Young Artists.
Regional Escapes: QB Regional Adventures in 2025 features arts outings in Cairns, Toowoomba, and the Gold Coast, each paired with dinner, performance tickets, and post-show gatherings for a uniquely immersive cultural experience.
2026 Camino de Santiago Pilgrimage: In 2026, QB takes supporters on an all-inclusive luxury pilgrimage along Spain’s Camino de Santiago. Travelers will enjoy five-star accommodations, fine dining, and tailored guidance through the last 100 km of this historic route.
Camino de Santiago Preparation: The 2025 QB Walks series, led by Climbing Mountains, will guide participants on regular preparatory hikes. These sessions teach essential skills for the Camino journey, including managing long distances, choosing the right gear, and hiking with a backpack.
Unforgettable Artistic Encounters: Each QB Adventure, whether local or abroad, promises a thoughtfully curated experience, connecting supporters not only to ballet but also to rich cultural moments that deepen their ties with Queensland Ballet and each other.
For more information or to book scan the QR Code or visit queenslandballet.com.au/support
As we bring our final edition of Pas Magazine to life, we extend our heartfelt thanks to each of you. For five years, you’ve been with us every step, pirouette, and leap. Your support, passion, and dedication to the art of ballet has inspired us to capture and share the beauty, talent, and stories of Queensland Ballet. Thank you for engaging with us, and look out for future stories, interviews and insight on our website!
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A behind-the-scenes peek into our Season 2025 photo shoot. This key annual project brings together creative minds from inside and outside the organisation to create fresh Queensland Ballet magic.
