Sydney Dance Company is based in Walsh Bay Sydney. Our studios are situated on the lands and over the waters of the Gadigal of the Eora Nation. We recognise their continuing connection to the land and waters and thank them for protecting this coastline and its ecosystems since time immemorial. We pay our respects to Elders past and present, and extend that respect to all First Nations people.
Dance changes you. More than simply witnessing something beautiful, or engaging with culture, to experience dance is to be positively altered.
From performances at the Joyce Theatre in New York and Shanghai Grand Centre, to Alice Springs in the Central Desert and the Sydney Opera House on the Harbour Foreshore, Sydney Dance Company has proved that there are no passive observers in a contemporary dance audience.
The reward of truly moving audiences, and the raw pride of sharing Australian art with the world has driven our Ensemble of 17 dancers, led by Artistic Director Rafael Bonachela, to become one of the world’s strongest forces in contemporary dance. Alongside Bonachela’s original works, our programs have featured guest choreographers like Jacopo Godani, Melanie Lane, Antony Hamilton, Alexander Ekman, Gideon Obarzanek, Marina Mascarell, Gabrielle Nankivell and Cheng Tsung-lung, as well as collaborations with Sydney Festival, Australian Chamber Orchestra, Sydney Symphony Orchestra, Sydney Conservatorium of Music Composing Women, Bryce Dessner, Nick Wales, 48nord and the late Ezio Bosso.
Sydney Dance Company has a broad community beyond the practice and performance of our lead dancers. We believe in the universality of dance, and with the largest public dance class program in Australia, people can connect with the grace, strength and creativity that lives within all of us.
In 2014 Sydney Dance Company launched the Pre-Professional Year (PPY) providing professional training in an unparalleled environment. Since then, Sydney Dance Company’s training programs have expanded to include not only the full-time PPY program but also Accredited Short Courses, Professional Intensives and Youth Ensembles. These offerings provide diverse pathways for performers and educators to refine their practice, develop their artistry, and deepen their understanding of dance technique, performance, and choreography. In addition Sydney Dance Company offers a nationwide education program offering workshops and tailored school matinees to connect students with a range of dance experiences, inspiring the next generation.
2024 was my second year as Chair of the Sydney Dance Company Board. I am delighted to continue this role as the organisation innovates, explores and celebrates dances through performance, education and participation.
This year saw ongoing commitment from both State and Federal governments for the arts sector. During the year we engaged with governments of all levels to explore pathways for Sydney Dance Company to support and expand on their goals, as well as to strengthen the role of the arts within our communities.
In line with the federal National Cultural Policy to cultivate and grow Australian cultural exports, we maintained our commitment to international touring. With performances in Europe, the United Kingdom and the United States, our extraordinary Ensemble of dancers once again thrilled audiences, earning several standing ovations. I was deeply moved when I personally saw our dancers perform at the Joyce Theatre in New York—the technical brilliance and emotional depth they brought to the stage exemplified why Sydney Dance Company continues to be one of the world’s strongest forces in contemporary dance.
Rafael Bonachela’s creation of momenta was a particular highlight of 2024, showcasing the exceptional artistry that defines our Company. This work, along with Melanie Lane’s innovative Love Lock, demonstrated our ongoing commitment to artistic excellence and creative exploration that resonates both with Australian and international audiences.
We also maintained our engagement with audiences across all of Australia – from Karratha to Cairns. With the costs of touring still experiencing extreme growth in a post-pandemic environment, these tours are only possible through the foundational funding provided from Creative Australia and Create NSW, and we thank them for their ongoing support in these challenging economic times.
It has been a difficult financial operating environment for performing arts companies for some time and 2024 was no exception for Sydney Dance Company. As the Company is still recovering from the impacts of the pandemic, cost inflation, and the more recent cost-ofliving challenges across our community, we will draw on our reserves again in 2024 with an operational deficit of $1,523,177. The Board continues to work closely with management on measures to steadily improve the overall position of the Company, focusing particularly on cost initiatives and diversifying our revenue streams while maintaining our artistic integrity.
To this end, in 2024 the Board also developed and implemented a new investment policy for Sydney Dance Company assets, overseen by our Audit and Risk Committee. I thank all members of the Committee for their expertise, counsel and leadership in this process.
Now more than ever, we need to expand support from non-government sources, and our Philanthropy and Partnership programs continue to develop vital financial and strategic relationships to help us ensure a sustainable future for our work.
company in supporting our activities. This initiative has already begun to open new doors and create meaningful connections that will benefit the company for years to come.
We are also much more than just a professional dance company. Our open classes, educational programs and professional training continued to thrive in 2024, providing engaging experiences for thousands of individuals as well as diversifying our income streams. I’m particularly proud that through philanthropic support, we were able to offer school workshops and scholarships for our Pre-Professional Year students, breaking down barriers to participation and nurturing the next generation of Australian dance talent. Our community engagement initiatives, including the Autism Friendly Workshops and partnerships with organisations like Aspect: Autism Spectrum Australia, reflect our commitment to making dance accessible to all.
As I continue in my role as Chair of the Sydney Dance Company Board, I am as delighted as ever to be part of the Company family. I wish to thank all my fellow Board members, with particular acknowledgement to David Baxby who resigned from the Board to take on new challenges in the tertiary sector, and also welcome to Michael Dagostino and Andrew Hagger.
Thank you to our Executive team, Raf and Lou, all our staff and our talented Ensemble of dancers for another year of hard work and for your dedication to the evolution of contemporary dance, and the wider Arts sector. The vision and creativity you bring to Sydney Dance Company inspires me and audiences around the world.
Emma-Jane Newton Chair
2024 has been a year of collaboration, a celebration of the new and a connection with communities far and wide.
Our touring activities took us to seven states and territories across Australia, as well as five countries abroad. We commissioned twelve world premieres and co-presented a further two, with works from ten Australian choreographers. Our on-stage program engaged over 65 composers, designers and other creatives, as well as providing an opportunity for vibrant new Australian voices from the independent sector through our annual INDance and New Breed programs.
We connected with new audiences through unique and impactful collaborations with Little Big Dance (UK), Australian Chamber Orchestra, Cartier, Sydney Fringe Festival, and Aspect: Autism Spectrum Australia. We also reached our younger audiences through a livestream of one of our six school matinees, together with workshops delivered across Australia and in Sydney, including a bespoke series for young dancers from Beijing, China.
On the lands and over the saltwater of the Gadigal, our home at Walsh Bay Arts Precinct continued to vibrate with people from all walks of life participating and engaging in dance. Our public classes and school holiday workshops had over 89,000 in person and on-line attendances, including new offerings for families and parents and toddlers. 48 students from our Pre-Professional Year program successfully completed their accredited training, with additional training provided through our Professional Intensives, Youth Intensives and Youth Ensemble programs, as well as our ongoing collaboration with McDonald College and Sydney Conservatorium of Music.
This breadth of impact – from performances, to classes, training and across our venues – is only possible due the ongoing foundational support of our Government partners – Creative Australia and Create NSW. Our partners and donors enable us to create, to reach new audiences, to take risks, and we thank them for their willingness to support our vision and our aspirations. Particularly during this challenging economic time, with cost of living, touring and creation growing at post-pandemic inflation levels, we simply could not do all we do without each and every supporter.
As Australia’s leading contemporary dance company, we acknowledge and respect the important leadership role Sydney Dance Company must play in strengthening and sustaining our broader ecosystem and communities. In 2024 this included our inaugural
Balnaves Artist in Residence, as well as ongoing in-kind venue support for arts organisations and provision of expertise, collaboration and support to a range of industry bodies and conferences. In 2024 Sydney Dance Company also launched our first formal Reconciliation Action Plan (RAP), articulating our long-standing commitment to amplifying First Nations people’s voices, stories and perspectives through meaningful and measurable initiatives that will be implemented across our organisation.
Finally, to all members of the Sydney Dance Company family, on-stage, off-stage and behind the scenes, from dancers, our Board, Ambassadors, staff, class participants and audiences, your passion and commitment to every branch of the Company inspires, challenges and support us to continue to share the power of dance, allowing us to reach our goals and encourages us to keep turning dreams into reality.
Thank you.
Lou Oppenheim Executive Director
2024 marked my 16th year with the Sydney Dance Company. My passion for the work we do is an ongoing driver for me.
Our Ensemble continues to push boundaries in the pursuit of artistic and creative excellence. This year we welcomed new dancers Ryan Pearson, Timmy Blankenship, Ngaere Jenkins, Anika Boet and Tayla Gartner (2024 Trainee). They, with all our dancers, bring an extraordinary range of experience and training. This makes for a vibrant physicality, marked by both exciting individuality and a strong collective ethos.
We kicked off the year in the studio with the creation of momenta. I asked our dancers to explore the full range of their bodies when developing this work, transcending physical limitations. The dancers’ ability to work with both vulnerability and strength gave the creation of the work grace, power and purpose.
In March we began our international tour, and it was particularly gratifying for me to begin with sold-out performances at Mercat de Flors in Barcelona. There is something very special about experiencing a rapturous applause in my home country, and the wonderful reception of our work throughout Europe, the United States and the United Kingdom thrilled me.
Our 2024 international tour marked a significant moment in Sydney Dance Company’s 55-year history, featuring the long-awaited return to the Royal Opera House, London and a debut season at the Kennedy Center, Washington. We performed five works from Australian and international choreographers, once again proving that Australian dance takes its place proudly on the global scene, as we presented our work to both critical and audience acclaim.
Throughout the international tour, work on momenta went on behind the scenes for its premiere at the Roslyn Packer Theatre in May before presenting it around the country on our national tour.
momenta could not have been the success it was without the creativity of our fabulous design team: Nick Wales’ evocative soundscapes, Elizabeth Gadsby’s arresting set and costume design and Damien Cooper’s striking lighting. Our collaborations with artists from other disciplines continue to bear glorious fruit. Gifting us new ideas, we benefit from this vibrant energy well after the creation of individual works.
This sort of energy is also created through working with a diverse range of independent choreographers and collaborators. This year we commissioned
Melanie Lane to choreograph Love Lock for our Twofold season, and it was a joy to collaborate with the ACO on Silence and Rapture.
Our collaboration with new and independent artists is always treasured, and the New Breed program, supporting emerging choreographers, infuses our dancers with new perspectives and ways of thinking and moving. INDance is a highlight every year, giving audiences access to artists whose work otherwise may not be able to be presented in Sydney.
At the end of the year we also farewelled long standing dancers Emily Seymour, Connor McMahon, Chloe Young, Dean Elliott and Coco Wood. I thank them for all their commitment, and am so excited for what lies ahead for each of them - on and off stage.
Behind the dancers is a strong internal team and a Board who are deeply committed to contemporary dance. Their hard work is central to our artistic success, and I am grateful their support remains unwavering.
I have had the good fortune to work with dancers at the height of their powers, dancers who trust in me and each other. They are fearless and strong, and central to what Sydney Dance Company offers Australia and the world beyond.
Rafael Bonachela Artistic Director
performances performances featuring members of the Ensemble across state and territories 153
295 people invested in creative and artistic staff salaries, employing arts administrators, dance educators, and production staff through education programs and activities, scholarships and support for the broader dance sector by commissioning independent creatives.
$8,878,941
89,607 total attendances in person and on-line including 2,002,189 engagements across all digital platforms
Includes two TikTok posts with engagement of 300K+ and views of 3.4m and 5m.
6,281 views of Classes on Demand
Social Media Audience
120,684 on Instagram
63,470 on Tiktok
10,300 on YouTube
This represents a growth on all platforms
2,542 livestream matinee attendances Over
92 13
177 6,595
education workshops held across young people reached school holiday workshops locations
78,420 on Facebook Club Origami performances
73
schools
We presented 11 a work designed for a pre-school audience. Along with our classes for families and toddlers, we are growing a new audience for contemporary dance.
As a dancer, 2024 was a year of shifting gears and discovering myself in new spaces. Moving from Bangarra Dance Theatre to Sydney Dance Company, I found myself at the wharf in the middle of the Sydney summer, feeling both anxious and excited about what the year would have in store for me.
January 9: I arrive. Warm up starts and the engine revs. For me, the beauty of this Company has always been the athletic and artistic ability of the dancers, and I was about to discover how that artistry is developed and maintained. We had five pieces to remount for our international tour (Impermanence, the triple bill of Ascent and ab[intra]) and the creation of a new work, all in the first five weeks of the year. Diving straight in, I felt I could rise to the challenge and let my artistry grow.
In March we travelled to Europe and the United States, with amazing experiences in Barcelona, Belgrade, Portland and Washington. My favourite
show moments were our performances in our weeklong seasons in The Linbury Theatre in the Royal Opera House in London and at the Joyce Theatre in New York. Dancing in both these theatres were definite bucket list moments for me, making me very proud to be an artist. London, particularly, was a favourite place of mine. Funnily enough, I felt at home and would love to go back again and explore more.
I felt spoilt by so many experiences in 2024. Not only was I being taught the repertoire of the Company, but I was also a participant in the creation of a new and original Rafael Bonachela work, and back in Australia we performed Raf’s momenta for the first season of the year. The mix of the training in a solid repertoire, and the chance to be part of a new work coming into being, was proof of all the Company has to offer a dancer.
Our second season was Twofold; a return of Impermanence with the new creation Love Lock,
choreographed by Melanie Lane. This was a great highlight for me. I understood Melanie’s artistic expression and felt like she spoke my language in movement. She has this cool, calm and collected swag about her which moved throughout the room as if gently swaying. It was amazing to be working with her.
We finished up the year with the New Breed season. I was privileged to be a part of two works. Dancer and choreographer Piran Scott created Breath, inspired by Tim Winton’s novel of the same name. Piran’s creative style reminded me of how I created with Bangarra. The development was beautiful in its collaborative nature and nurtured a strong sense of storytelling. A highlight for sure.
Amber McCartney created leech; a bewitching, far cry from what you might consider a ‘typical’ Sydney Dance Company work. It was inspired by the genres of science-fiction and horror; the latter being
something I don’t usually dabble in. The show came as a breath of fresh air in the last weeks of the year. As an artist, I found it exciting to be playing the extra limbs in Amber’s work and seeing what forms I could create on stage. For me it was a lovely way to finish the year.
It has been such a pleasure to be part of Sydney Dance Company. I have been dancing for quite a long time, and I am grateful that I took the leap out of comfort and into the unknown and by doing so, arrived here. I have grown in many ways and have experienced a whole new world of dance and artistry.
I thank Raf and the artistic team for helping me get here, and I welcome 2025 with open arms.
Ryan Pearson
Our promise is one of transformation; we seek to create works and performances that change minds, bodies and souls.
From Sydney’s Walsh Bay Arts Precinct, across Australia, and around the world, 2024 was a year of expansive and creative work in which our collaborations, our commitment to reaching audiences, and our engagement with new and fresh ideas from a diversity of artists came together to demonstrate our vital place in Australia’s arts sector.
The stagecraft of our set, costume and lighting designers continued to extend our creative boundaries, as did our collaborations with talented composers and musicians.
Audiences and critics alike responded to our dancers’ technical skill, passion and commitment to pushing the limits of their own physicality.
The year saw a vibrant balance of the creation of new and vital works and the remounting of some of Sydney Dance Company’s most powerful repertoire. It was a mix that delighted and inspired audiences.
Choreography Rafael Bonachela
Music Original Score by Nick Wales featuring Distant Light by Pēteris Vasks
Lighting Design
Set and Costume Design
Damien Cooper
Elizabeth Gadsby
Associate Costume Design Emma White
Rich with rhythmical and spatial patterning, Rafael Bonachela’s work momenta burst onto stage at the Roslyn Packer Theatre at the end of May before touring nationally. The work dared Company dancers to explore the full range of their bodies with grace, power and vulnerability and took audiences on a journey into the poetry and physicality of human bonds.
In its premiere, our first Sydney season of the year, and in subsequent performances around the country, audiences witnessed an extraordinary force of movement, striking individuality and powerful unity.
The work is a captivating interplay of Bonachela’s signature choreographic style, Nick Wales’ evocative soundscapes, Elizabeth Gadsby’s arresting set design and Damien Cooper’s striking lighting.
“Then just when you think Bonachela can’t possibly outdo his last creation, he raises the bar again. momenta is a sublime work... When it comes your way don’t miss the opportunity to see this example of the Sydney Dance Company at its very best.”
— Australian Arts Review
“There is a consistency and persistence to the movement quality in momenta: sweeping, sliding, extending and contracting in cyclical patterns which contain traces of elements of the patterns that came before them. It is breathtaking.”
— The Conversation
Choreography Melanie Lane
Composer Clark
Lighting and Set Design Damien Cooper
Costume Design Akira Isogawa
Acknowledgment
Sydney Dance Company sincerely thanks Clegg Foundation.
Inspired by the complexity of love stories, Australian/ Javanese choreographer and performer Melanie Lane’s Love Lock creates a folk dance that celebrates the fantasies and realities of love, delving into dreams of its complex and often giddy realms.
With striking costumes by the iconic designer Akira Isogawa and a score by British electronic artist Clark, Love Lock was generously supported by Sydney Dance Company’s Visionary Patron Brett Clegg and the Clegg Foundation. Love Lock is Melanie’s second work for the Sydney Dance Company.
The work premiered in the Company’s Twofold season, playing with Rafael Bonachela’s 2021 work, Impermanence
“Love Lock is a stunning exposition of colour, movement and music. With avant-garde costumes by renowned designer Akira Isogawa, an urgent and exciting score by British electronic musician Christopher Stephen Clark (who performs under the mononym Clark) and Lane’s tribal, compelling choreography, this is one wild ride.” – ArtsHub
“Choreographed by Melanie Lane, one of the most interesting dance voices in Australia, Love Lock is a deranged and glorious mantra of love. It’s a wacky, insouciant, laugh out loud, bizarre and elaborate courtship ritual that hits deep in the gut… Cross oceans if you must, this is the real deal.” – Bachtrack
Choreography Rafael Bonachela
Music Original score by Nick Wales featuring Klātbūtne by Pēteris Vasks
Lighting Design
Set and Costume Design
Damien Cooper
David Fleischer
Choreography Rafael Bonachela
Music Composition Composition Bryce Dessner (co-commissioned by the Australian String Quartet) also featuring Another World by Anohni
Music Performance Australian String Quartet or Partridge String Quartet and Quatuor Zaïde (international)
Lighting Design
Stage Design
Costume Design
Damien Cooper
David Fleischer
Aleisa Jelbart
First performed in 2018, ab [intra] (from the Latin meaning ‘from within’) emerged from a series of improvisations by Company dancers. From these beginnings, Rafael Bonachela has created a journey through the intensity of human existence. This critically acclaimed work remains much loved, earning particularly rapturous applause from United States audiences this year.
This full-length work by Rafael Bonachela explores both the power of beauty and the meaning of its destruction. It features a score full of emotional power from Grammy Award-winning composer Bryce Dessner, co-commissioned with the Australian String Quartet.
Impermanence is a celebrated and definitive part of Sydney Dance Company repertoire, and as such, offered the perfect balance to Melanie Lane’s new work Love Lock. Both works were presented together as part of the Company’s Twofold season. Impermanence was also presented in other double bills as well as as a stand-alone work on the Company’s international tour.
“arguably the single best piece created by and for an Australian dance company for many years” — Adelaide Advertiser.
Choreography Rafael Bonachela
Music Lonely Angel, meditation for violin and strings by Pēteris Vasks
Lighting Design Damien Cooper
Stage Design David Fleischer
Costume Design Aleisa Jelbart
Choreography Antony Hamilton
Music Julian Hamilton
Lighting Design Ben Cisterne
Costume Design Paula Levis
I Am-ness portrays a world in flux, where simplicity dominates, and expectations are subverted.
Created in 2023, the work was performed as part of Ascent, a trio of works performed in Barcelona and London, along with Forever & Ever and The Shell, A Ghost, A Host & The Lyrebird.
Premiering in 2018, Forever & Ever was choreographed by Antony Hamilton, commissioned by Sydney Dance Company as part of our commitment to supporting Australian choreographers. The work won the 2024 Green Room Award for Best Choreography and Best Performer for Jesse Scales (Melbourne season 2023). It had its international premiere at Theatre Bonn, Germany in October 2023.
Direction Marina Mascarell
Choreography Marina Mascarell, in collaboration with dancers
Music Nick Wales
Lighting Design Damien Cooper
Set and Costume Designers
Lauren Brincat and Leah Giblin
Spanish born choreographer Marina Marina Mascarell collaborated with the Sydney Dance Company in 2023 to create this work with striking set design from Australians Lauren Brincat and Leah Giblin. The piece poses many questions: the body’s meaning and its capacity to transform; the relationship with technology; and the connection with nature.
by Rafael Bonachela
With the unwavering support of The Balnaves Foundation and Carriageworks, 2024’s New Breed supported emerging local artists and helped ensure a bright future for contemporary dance in this country.
The program, performed in December at Carriageworks, featured work by Amber McCartney, Siobhan McKenna and Company dancers Dean Elliott and Piran Scott.
Choreography Piran Scott
Music Ocean by John Butler
Lighting Design Alexander Berlage
Costume Design Aleisa Jelbart
Inspired by Tim Winton’s Breath and the centrality of the beach to Australian identity, this work explores our connection to the ocean and the power of breath in our everyday human experience. It examines the journey we all take: the limits of our discoveries, the trauma and the beauty, our connection to the ocean and the power of breath in our everyday human experience.
Choreography Dean Elliott in collaboration with the dancers
Composition Connor McMahon
Lighting Design Alexander Berlage
Costume Design Aleisa Jelbart
An exploration of chasing perfections. The work is a playful nod to athleticism’s intersection with the artistry of dance and the interplay of elegance and power. Navigating the tension of working as a team whilst yearning for individual recognition, the performers find unity amongst rivalry, and rivalry amidst unity, as they keep one eye on their fellow athletes and the other on the prize.
Acknowledgments
Sydney Dance Company sincerely thanks New Breed Principal Partner The Balnaves Foundation, and Co-Presenters Carriageworks.
Choreography Siobhan McKenna in collaboration with the dancers
Text Siobhan McKenna in collaboration with the dancers
Sound Advice Lena Douglas
Lighting Design Alexander Berlage
Costume Design Aleisa Jelbart
This work explores the dynamic rhythms and repetitions within communication and the act of listening. Say it again takes inspiration from these aspects of communication and highlights the cyclical nature of interaction—the pauses and repetitions, in spoken language and movement.
Choreography Amber McCartney
Music and Sound Design Alisdair Macindoe, Robert Downie
Lighting Design Alexander Berlage
Costume Design Aleisa Jelbart
“Terror has no shape” - The Blob (1988)
In a work inspired by science fiction and horror, dancers’ bodies are morphed and transformed in a piece that challenges the human form.
Presented and produced by Australian Chamber Orchestra
Director and Violin Richard Tognetti
Countertenor Iestyn Davies
Choreography Rafael Bonachela
Viola Stefanie Farrands
Cello Timo-Veikko Valve
Organ and Harpsichord Chad Kelly
Lighting Design Damien Cooper
Costume Design Kelsey Lee
Artists Sydney Dance Company, Emily Seymour and Liam Green, and the Australian Chamber Orchestra
Harnessing the collective power of two different art forms, Silence and Rapture was a mesmerising collaboration between Sydney Dance Company and Australian Chamber Orchestra. Directed by Richard Tognetti, the work featured choreography by Rafael Bonachela, the voice of Gramophone Award-winning countertenor Iestyn Davies in his Australian debut, and the music of Johann Sebastian Bach and Arvo Pärt. The work brought together music, contemporary dance and evocative lighting to create something truly extraordinary.
Silence and Rapture was a beautifully conceived collaboration, which was enthusiastically received by audiences around Australia. We thank Australian Chamber Orchestra for inviting us to work with them.
“Complex and beautiful, Bonachela’s stunning abstract choreography echoed the inspiration of the music. His intricate solos, duets and unison sequences were performed with rapturous elan and commitment by the dancers, complimented the music by providing an endless stream of inspirational images, among them, a moment when the extraordinary countertenor, Iestyn Davies, joined the dancers for an elegantly choreographed rendition of Pärt’s My Heart’s in the Highlands.” – Australian Arts Review
Choreography Rafael Bonachela
Music Nick Wales
Costume Design Kelsey Lee
Sydney Dance Company were a featured part of Cartier’s centenary celebrations of the Trinity ring.
Choreographed by Friend of the Maison, Rafael Bonachela, Company dancers Emily Seymour, Liam Green and Dean Elliott performed TRES, a trio adapted from the dance film of the same name choreographed and directed by Rafael in 2023.
Accompanied by Rehearsal Associate Charmene Yap, the dancers performed at the opening night party, and then as part of a boutique promenade performance in Arts House Singapore 10-12 July.
New Australian commission
9 Performances
Concept Takeshi Matsumoto
Created and Performed Makiko Aoyama, Robert Howat, Takeshi Matsumoto
Australian Cast Ryuichi Fujimura, Reina Takeuchi, Salina Myat
Music Robert Howat
Dramaturg Lou Cope
Mentor Rosie Heafford
Set and Lighting Designer Ben Pacey
Costume Designer Giulia Scrimieri
Costume Maker Hania Kosewicz
In association with Seven Circles, Club Origami was commissioned and produced by Little Big Dance with special thanks to South East Dance, Brighton, United Kingdom.
Acknowledgment
Supported by the Naomi Milgrom Foundation
This year saw the presentation of a work specially designed for our youngest audiences. Club Origami was created for children up to the age of six, extending the experience of contemporary dance to a new generation of dance enthusiasts.
Club Origami encourages a slow, often silent experience for toddlers and pre-schoolers, allowing for ways of being not always offered to young audiences.
Family audiences were able to create and explore whole new ways of thinking, playing and moving. Using the unexpected connections between the immersive, mediative art of origami and the physicality of dance, the work delighted its audience, as dancers mimicked the classic shapes of origami, such as the crane, allowing the imaginations of the young audience to expand.
“imaginary world that is a delight for fans of Japanese playfulness” – Sydney Morning Herald
INDance is Sydney Dance Company’s annual curated program of independent contemporary dance. It’s a unique opportunity for established dance makers to have work presented by Sydney Dance Company in our intimate Neilson Studio at the Walsh Bay Arts Precinct across two weeks. The program exemplifies our commitment to supporting the Australian independent dance sector, expanding audience reach and engagement with the artform.
Choreography, Video, Visual Design and Performance
Sarah Aiken
Sound Design Andrew Wilson
Whether monstrous and destructive or lost in the crushing scale of humanity, ecology, time and the universe, this perspective-shifting work is a chance to lose yourself and maybe find something better.
Choreography Harrison Ritchie-Jones
Performers Harrison Ritchie-Jones and Michaela Tancheff
Composers Nick Roder and Max Dowling
Weaving contemporary dance with elements from martial arts, figure skating, rodeo barnyard dance and a host of more abstract inspirations, CUDDLE ebbs and flows from the joyful and absurd to the inventive and technically brilliant.
“The dynamic and vigorous dance routines are technically brilliant and mesmerising. There were audible gasps from the audience in this intimate setting as the muscular bodies, and strength and energy of the dancers combined in a brutal and elegant display.” – Sydney Arts Guide
Choreography
The Sydney Dance Company acknowledges the Neilson Foundation’s visionary investment in this program to enable the growth and development of Australian dancemakers.
Kristina Chan in collaboration with original cast
Performers Jasmin Luna and Tiana Lung
Sound Design
James Brown
With striking choreography, a haunting psychedelic score and nuanced conceptual design elements, Brightness draws us into a deep state of listening, into our inherent connection with nature.
Concept and Choreography
Performers
Sound Design
Ashleigh Musk, in collaboration with the entire team
Madeleine Krenek, Georgia
Rudd, Ashleigh Musk and Samakshi Sidhu
Anna Whitaker
Deepening towards the tectonic pulse of the earth, time shifts and defies what we know about living in relationship with the underground.
The work portrays a soft defiance through the endurance of SUB’s inhabitants as they come into confluence with precious materials below the surface.
For the first time, PPY Revealed was performed at the Riverside Theatre in Paramatta, deepening our connection to audiences in Western Sydney. Being at Riverside allowed our artists access to a different professional performance space in what is becoming a thriving scene for independent dance in Sydney.
Choreography Miranda Wheen in collaboration with the performers
Composer and Harpicord Fiona Hill
Music Mix Bob Scott
Spoken Word Lucy Miller
Violin and Sung Vocals Fiona McVicar
Works used Bach, Prelude in A minor from The Well Tempered Clavier Book II (1742)
Chan eil mi gun mhulad orm (I am not unsorrowful), traditional Scots ‘clapping song’ from the Isle of Barra, used at the end of the waulking process when the cloth that had been made was folded and patted down. (Traditional)
Sappho Text If Not, Winter, Fragments of Sappho by Anne Carson (600BC)
Lighting Design Karen Norris
Costume Design Harriet Ayers
Cast PPY2 Full Company
Choreography Cass Mortimer Eipper in collaboration with the performers
Composer Peter McAvan
Lighting Design Karen Norris
Costume Design Harriet Ayers
Cast PPY1 Full Company
Choreography Prue Lang in collaboration with the performers
Composer Chiara Costanza
Lighting Design Karen Norris
Costume Design Harriet Ayers
Cast PPY2 Full Company
Choreography James Batchelor in collaboration with the performers
Composer Morgan Hickinbotham
Lighting Design Karen Norris
Costume Design Harriet Ayers
Cast PPY2 Dancers, Santi Barker, Vivienne Clements-Lee, Julien Cravero, Lauren Davidson, Vincent Garcia, Zoe Jewell, Arabella Kiefer, Isobella Laidlaw, Alexandra Lusty, Charlie MacArthur, Ayesha Peerbaye, Hannah Roberts, Maggie Teasdale, Georgia Vincent, Ariana Wolf
Choreography Frances Rings in collaboration with the performers
Sound Лале Ли Си, Зюмбюл Ли Си, Гюл Ли Си by Philip Koutev Ensemble; Stio by SHXCXHCXSH
Lighting Design Karen Norris
Costume Design Harriet Ayers
Cast PPY2 Full Company
Choreography Rafael Bonachela
Sound Nick Wales
Lighting Design Karen Norris
Costume Design Consultant Peter Simon Phillips
Costume Maker Fiona Holley
Costume Realisation Harriet Ayers
Cast PPY2 Full Company
This sold-out season of PPY first-year students was held at the Neilson Studio.
Choreography Idan Cohen
Music Etude No. 2 by Philip Glass
Pianist Leslie Dala
Excerpt of Rebus
Choreography Merce Cunningham (restaged by Melissa Toogood)
Music Composition David Behrman, Voice with Melody-Driven Electronics
Choreography Rafael Bonachela
Music Composition Nick Wales
Pattern Pulse
Choreography Cass Mortimer Eipper in collaboration with the performers
Composer Peter McAvan
Costume Design Harriet Ayers
1 new international commission 4 Performances
Pattern Pulse by Cass Mortimer
“As a Brazilian who worked in Europe for 11 years, touring across Australia and Europe gives me the best of both worlds. Regional tours give me the opportunity to see more of this vast country - to connect and share art with smaller communities and audiences, not only through performances, but also in providing workshops to many different age groups and dance backgrounds. Touring to Europe on the other hand, offers me the privilege to reconnect with old friends and colleagues, while also immersing myself in different cultures, aspects, and languages. For me, life on the road is one of the most exciting things about being a dancer at Sydney Dance Company - I cannot wait to see what places my job will take me next. “ – Naiara de Matos, Company Dancer
“The Australian dance company closed White Bird’s season with a bold performance, as the powerful and confident dancers brilliantly executed Rafael Bonachela’s technically demanding choreography.”
– Oregon Arts Watch
“…this is a company of strong, versatile dancers, and what they show in Ascent is work that’s solidly movement and music-led, dancing round the edges of abstraction.” – Guardian UK
“Bonachela’s choreography was dramatic, powerful and fast-paced, and worked well alongside the score that at times packed a thrilling punch. Damien Cooper’s lighting designs changed like the seasons, going from the burning orange of summer to the frosty blues of winter, complete with sparkly effects on the backdrop that looked like snowfall.”
– Westender (Brisbane)
Washington (United States) 3 performances
Portland (United States) 1 performance
Northern Territory Darwin, 1 performance
Western Australia
Albany, 1 performance
Karratha, 1 performance
Mandurah, 1 performance Perth, 6 performances
South Australia Adelaide, 1 performance
Victoria Melbourne, 10 performances
Includes Silence and Rapture and Tres
New York (United States) 7 performances
Belgrade (Serbia) 2 performances
London (United Kingdom) 4 performances Barcelona (Spain) 5 performances
Singapore 9 performances
Queensland
Brisbane, 5 performances Cairns, 1 performance
New South Wales Orange, 1 performance Tamworth, 1 performance Shoalhaven, 1 performance
Sydney, 41 performances
Western Sydney, 8 performances (including 6 PPY) Wagga Wagga, 1 performance Wyong, 1 performance
Australian Capital Territory
Canberra, 4 performances
A strong and collaborative arts sector is vital and as Australia’s pre-eminent contemporary dance company, we aim to lead and engage in ways that strengthen and sustain the industry by offering support and opportunities to our fellow arts industry bodies. We do this in a number of ways.
Sydney Dance Company staff led and engaged with the broad dance, performing art and training sectors, including
• Co-Chairing the Network of National Dance Organisations (NoNDO)
• Convening the NSW National Performing Arts Framework organisations meetings
• Representing Australia for the Triannual Dance and the Child (daCi) Conference
• Delivering sessions on improvisation at the biannual Royal Academy of Dance Conference
• Delivering sessions on student creativity at the NSW Department of Education Creative Arts Conference
• Being representatives on a range of industry bodies and boards including
» Sydney Opera House Education Advisory Panel
» Create NSW Dance and Physical Theatre Artform Board
» The Australian Society for Performing Arts Healthcare
» Theatre Network Australia
» Sydney Arts Management Advisory Board.
Sydney Dance Company is committed to fostering the next generation of dance artists by providing meaningful opportunities to engage with our professional Ensemble. Throughout 2024, we welcomed 53 dancers into our studios to participate in Company classes—both at our home on the Wharf and while on tour.
We hosted 43 undergraduate dancers for week-long secondments, including 30 from our Pre-Professional Year (PPY) and 13 from leading tertiary institutions such as the Victorian College of the Arts, Western Australian Academy of Performing Arts, New Zealand School of Dance, Queensland University of Technology, NAISDA Dance College, The Australian Ballet School and Adelaide College of the Arts.
Supporting the broader dance industry Sydney Dance Company hosted two advanced contemporary workshops. These sessions provided 40 advanced level dancers with the opportunity to develop their technique and creativity under the guidance of two experienced industry professionals.
At the 2024 Brisbane International Contemporary Dance Prix, we proudly awarded one eight-week secondment to the competition winner, and three shorter secondments to other finalists.
Our audition program remained robust, with 27 dancers invited for private auditions and 266 applications submitted for our open audition—83 of whom were invited to attended in person, and 24 completed a video audition. The audition attracted a high proportion of international applicants from the United States, Japan, Europe, Hong Kong, the United Kingdom, South Korea and Taiwan.
Supported through Creative Australia through their Production Workforce Training Initiative and in collaboration with Dance Makers’ Collective, across 2024-25 Sydney Dance Company is providing opportunities for two individuals to develop their skills in technical delivery of dance performances, including touring, for small-large scale dance works.
As part of The Balnaves Foundation support of Sydney Dance Company, we welcomed Jasmin Sheppard as The Balnaves Artist in Residence 2024. Jasmin is choreographer, dancer and Tagalaka Aboriginal woman and previously worked as a dancer with Bangarra Dance Theatre for 12 years. She was part of Sydney Dance Company’s New Breed season in 2021, creating the highly acclaimed work Given Unto Thee
A critical part of our commitment to arts sector engagement, The Balnaves Artist in Residence is given unparalleled industry experience by exposing them to a complete artistic, production and administrative cycle within the Company.
Acknowledgment
Supported by The Balnaves Foundation
At our home at Walsh Bay Arts Precinct, we hosted the one-day gathering for Theatre Network Australia’s Dance Sector, which saw representatives from the NSW dance sector contribute to the National Dance Sector report.
Other hosting or venue hire was provided to BlakDance, Moorambillia Voices, Dirty Feet, Australian Chamber Orchestra, South West Arts, Auslan Stage Left, Sydney Festival, Bangarra Dance Theatre, Melba Opera Trust, Royal Academy of Dance, Australian Ballet School, Performing Arts Centres (PAC) Australia, Dance North Academy, Sue Healey, New Old Now, Georgette Sofatzis.
We provided total in-kind (free) venue hire worth $17k to arts organisations.
Sue Healey’s video art installation In View: Icons, was included as part of Sydney Festival and hosted in the Neilson Studio, alongside the performances of two high-octane works from Australia and Northern Ireland exploring class, gender and the fortitude of feminism: Hope Hunt and the Ascension into Lazarus (Oona Doherty) and Wolverine (Emma Harrison). Workshops were also delivered by Marrugeku, Dancenorth’s Amber Haines and Ryka Ali at the Neilson Studio by the Festival.
We continued our partnership with Sydney Fringe Festival, hosting the Official Dance Hub in the last week of September, over three nights, with three different performances per night:
Astor a choreographic ode to Piazzolla’s compositions
LOVE ARENA, a debut contemporary dance work from Sydney based choreographers Remy Rochester and Jasmin Luna
Move FM from Future Makers, conceived and choreographed by Paulina Quinteros
“A highlight for the Junior Youth Ensemble this year has definitely been being able to work with a range of choreographers and therefore a range of different styles of contemporary dance. As well as this, I’ve been able to expand my ability to improvise and create movement on my own.”
– Youth Ensemble dancer, 2024
Sydney Dance Company’s training and education programs are a driving force behind the evolution and innovation of Australian dance. Through our teaching, we remain dedicated to shaping and enriching dance culture and education across the country.
Sydney Dance Company continues to shape the future of contemporary dance in Australia and beyond through our Advanced Training programs. Our summer Professional Intensive attracted 22 dancers from Australia and internationally, with an additional two scholarship positions awarded to NAISDA students. Participants travelled from Russia, the United States, Hong Kong, New Zealand and various Australian states for an intensive five-day program.
The curriculum included technique classes, choreographic development and company repertoire, complemented by a Q&A session with Artistic Director Rafael Bonachela and Rehearsal Director Richard Cilli. The faculty featured industry professionals including Rehearsal Associate Charmene Yap, PPY Course Coordinator Tobiah Booth-Remmers and international guest artist Natalia Gabrielczyk.
Dance at its core is a deeply collaborative artform, and Sydney Dance Company’s Youth Ensemble program allows young dancers invaluable opportunities to collaborate with professional artists and each other. Over three terms, 20 Junior (ages 12-15) and 23 Senior (ages 15-18) Ensemble participants worked with a range of choreographers and independent artists including former Sydney Dance Company dancers Madeline Harms, Davide Di Giovanni and Chloe Leong as well as Cloé Fournier, Siobhan Lynch, Patricia Wood and Eliza Cooper.
The program culminated in two outstanding performances in the Neilson Studio, attended by 130 family members and friends. The Junior Ensemble presented Circus of Dreams, choreographed by Lisa Maris McDonell, while the Senior Ensemble performed Hooves, choreographed by Naomi Hibberd. Two Senior Ensemble dancers were accepted into Sydney Dance Company’s Pre-Professional Year (PPY1) for 2025, demonstrating the program’s success in preparing emerging artists.
In 2024 two Youth Intensives offered young dancers (ages 14-17) immersive training experiences in two locations across Sydney:
• Walsh Bay Studios (January): 23 dancers participated in a four-day intensive, honing their technical and creative skills under the mentorship of Sydney Dance Company’s training team, former Company dancer Madeline Harms and leading industry specialist Lisa Maris McDonell. The program concluded with an informal showing in the Neilson Studio.
• Rooty Hill (October): With generous support from West HQ and Blacktown City Council, 33 young dancers from Western Sydney explored contemporary dance at the Sydney Coliseum Theatre. Under the guidance of Company dancer Mia Thompson and teaching artist Siobhan Lynch, participants engaged with Sydney Dance Company repertoire while developing their own artistic voices.
Sydney Dance Company continued to foster artistic excellence through partnerships with McDonald College and the Sydney Conservatorium of Music.
• McDonald College: In its sixth year in 2024, 12 students were enrolled in the Senior Contemporary Dance Program. Students attended weekly pre-professional training sessions in our studios. Participants presented their self-devised solos for the College’s choreographic evening and performed an end of year showcase at NIDA. Two graduating students auditioned and were accepted into PPY1 for 2025.
• Sydney Conservatorium of Music: First- and second-year Diploma of Music Theatre students followed a customised dance curriculum designed by Head of Training Linda Gamblin. The year concluded with an intimate cabaret performance in the Sydney Dance Company café foyer.
Sydney Dance Company’s Pre-Professional Year (PPY) gives aspiring professional dancers aged 18 to 24 a unique opportunity for full-time training with Sydney Dance Company. The program is designed as a one- or two-year course and provides valuable industry experience as well as a vocational qualification.
In 2024 the program had 55 participants across two cohorts, with 48 successfully completing the CUA60120 Advanced Diploma of Professional Dance (Elite Performance) or CUA51520 Diploma of Professional Dance (Elite Performance). Sydney Dance Company is a Registered Training Organisation (RTO# 45863).
Thanks to our donors, 2024 saw a total of eight individual students receive scholarship support for their training. This support was offered in the form of two full scholarships and six half scholarships. The decision to provide more half scholarships than at any time in the last 11 years was in response to the rising, and potentially prohibitive, cost for young adults to live in Sydney.
Now in its second year of operation, the Student Management System and Learning Management Systems continue to improve and streamline the learning trajectory of all students moving through accredited training, creating the most efficient assessment processes for PPY assessors to date.
“Dance has offered me immense joy, curiosity and inspiration, providing a safe space for self-discovery and growth, and I have much to learn. This course is a gift that will shape how I navigate the world, I’m truly thankful.”
– Georgia Vincent (PPY2)
As part of an organisational commitment to improve the cultural capabilities of both staff and students, 2024’s PPY cohorts engaged in several activities aimed at enhancing our Aboriginal and Torres Strait Islander cultural learning and awareness.
In January all students and the training team participated in the highly informative Aboriginal Dreaming (Illi Langi) Rocks Tour, delving into the rich cultural heritage and profound history of the Gadigal.
First year students participated in a crossorganisation collaboration with NAISDA with 28 NAISDA dance students visiting the wharf for a day of classes and workshops and PPY students travelling north to NAISDA on Darkinjung land, participating in street dance classes and learning several Aboriginal and Torres Strait Islander cultural dances.
During Reconciliation Week, guest choreographer and cultural artist Casey Natty, a proud Kamilaroi man from the Guinbaraay clan from Gunnedah, NSW, and an alumnus of NAISDA and PPY, delivered workshops comparing Indigenous and western worldviews and cultural dance history. Students also participated in a series of
engagements with Bangarra Dance Theatre including repertoire workshops with Company dancers and a week of choreographic play between Artistic Director Frances Rings and the second-year students, the work later evolved into a new dance work showcased in PPY24 Revealed
PPY24 Revealed was presented at Riverside Theatre Parramatta, situated on the lands of the Darug people. To pay respect to the Darug people, PPY students engaged with the Jannawi Dance Clan through a Cultural workshop to further enrich our cultural learning and awareness.
“As an Aboriginal woman, mother and artist, the legacy we leave to our young people is a priority. I felt this opportunity to come together was meaningful and special. A sharing of experiences, knowledge, story and trust.” – Frances Rings, Bangarra Dance Theatre Artistic Director
The Conditioning Studio is an integral part of our Training program and has made a significant impact in both Sydney’s dance community and local Walsh Bay Arts Precinct. By offering a unique blend of dance expertise and functional conditioning, our staff offer clients a chance to change the way you move. The studio’s team of highly skilled professionals draws from their deep understanding of the biomechanics and somatic practises behind dance to design conditioning programs that improve strength, flexibility, and alignment—principles essential to dancers—while making them accessible to people of all movement backgrounds.
This inclusive approach not only enhances physical performance but also helps prevent injury and improve mobility, making expert-level knowledge available to everyone, regardless of their movement background. A new offering in 2024, Pilates Short Courses, resonated strongly to create an accessible way of improving dance technique and everyday posture. By providing expert guidance and accessible programs, the Conditioning Studio has become an essential resource for anyone interested in improving their body awareness and movement efficiency, creating stronger connections and promoting healthier lifestyles in our growing community.
“Driven by Felicity’s expertise and holistic approach I can say that her support has undoubtedly bolstered my ability to return to full performance and training. I’m incredibly grateful that I can access such a fantastic service as a professional dancer.”
– Ensemble Dancer
Public Sessions Delivered Dancer Sessions Delivered
564
Private / couples sessions 347 Small group sessions
42
Pilates Short Courses sessions
201 sessions with Pre-Professional Year students
188 sessions with Sydney Dance Company dancers
“Seeing Felicity for regular bi-weekly Pilates sessions and following up by myself daily has been life changing. I could barely walk without excruciating pain and am now pain free and moving freely.”
– Public Client
For the first time, Autism Friendly Workshops were offered as part of our school holiday program. These workshops are designed for young people with sensory needs to explore the creativity of dance and movement in a supported environment. Open to ages 8-12, participants worked with Sydney Dance Company teaching artists through a dance warmup, creative games and activities and contemporary dance choreography.
Adaptations made for this session included workshop numbers capped, reduced music volume, reduced lighting, visual story made available, quiet area and parents/carers welcome in the space to support participants.
A workshop was delivered in collaboration with Waverley Council, developed for members of the community who live with disability, and their carers.
In 2024 Sydney Dance Company continued its commitment to accessibility by offering Audio Described performances and Tactile Tours for select productions in Perth, Sydney and Melbourne. Audio description provides live verbal narration of key visual elements, including movement, costumes, and staging, allowing blind and low vision audience members to more fully engage with the performance.
Complementing these performances, Tactile Tours offer patrons the opportunity to explore elements of the production, up close, before the show. Guided by our Audio Describer, these tours allow participants to touch costumes, props, and stage elements, gaining a deeper understanding of the performance’s visual and textural details. Through these initiatives, Sydney Dance Company ensures dance remains an inclusive and immersive experience for all.
Sydney Dance Company’s Education Program connects teachers and students to leading professionals in the dance industry, inspiring and exciting students, and creating connections through contemporary dance.
We delivered six school matinee performances across Australia—in Sydney, Western Sydney, Perth and Melbourne—with over 2,000 primary, secondary and tertiary students in attendance. With support from the ClubGRANTS Program from West HQ, the momenta school matinee in Rooty Hill was livestreamed free to over 2,500 students from 73 schools across the country.
Through philanthropic support, 126 students and their teachers from Fairfield Public School and Punchbowl Public School in Western Sydney were provided with fully subsidised tickets to attend the primary matinee of Twofold.
“Bringing a performance directly to the school community through live stream is amazing. The students all loved watching the performance together. It has definitely inspired the students to be more dedicated in their contemporary dance classes and to explore more varied movements and concepts.”
– Teacher, Harbour Performing Arts Centre, NSW
We tailor workshops to suit school level, student ability and area of study, and remain committed to making dance education accessible for schools around the country through in-person and online programs.
In 2024 we delivered a total of 115 workshops to over 4,800 school students in Sydney. We presented the workshops either as school incursions or at our studios in the Walsh Bay Arts Precinct.
Philanthropic support made three fully subsidised workshops possible this year, ensuring access for students who may otherwise face barriers in participating in educational dance programs. This is vital in helping us meet our goal of providing dance education to a diverse cohort of students.
“The workshop was very engaging, well structured, challenging and fun. The students loved the language used to support a more somatic approach to dance and performance.”
– Secondary Teacher, St Leo’s Catholic College Wahroonga
“The workshop successfully catered to all abilities. Very professionally executed and a real leveler for my students. Students said that they had never moved like that before, and it was not like the contemporary dance they did in their dance school.”
– Secondary Teacher, St Andrew’s Catholic College, QLD
2024 saw 62 partially subsidised contemporary creative education workshops delivered across 12 locations, reaching over 1,795 young people, with thanks to support from the Yulgibar Foundation. A revised delivery model was implemented, using a combination of Company dancers, local teaching artists in Perth, Brisbane, and Melbourne, and teaching artists to lead the workshops.
“The facilitators were so engaging and wonderful to work with. They were kind and generous with their time. The content learnt was incredible and the students learnt so much.”
– Secondary Teacher, Springfield Central State High School, QLD
“The teachers were highly professional in their expectations of the students, they were able to share their knowledge, language, and dance expertise that as a teacher I would not readily know or utilise.”
– Primary Teacher, Cranbrook Junior School
In addition to core education activities, Sydney Dance Company’s learning team has continued to tailor bespoke programs to groups wanting a customised learning experience. Some highlights include:
• IGSA: In collaboration with the Independent Girls Schools Association (IGSA), 51 young dancers from 21 independent schools across NSW and the ACT participated in a bespoke workshop series at the wharf studios during the April school holidays. The IGSA Dance Festival spanned two days and concluded with three informal showings in the Neilson Studio. The success of this inaugural program led to a request for the workshop to return in 2025.
• National Ballet Art & Dance School: 24 young dancers, aged 7-14, from the National Ballet Art & Dance School in Beijing, China, participated in a five-day bespoke workshop series at the wharf studios. For all visiting students, this was their first experience with lyrical and contemporary dance. The workshop series culminated in an informal showing in the Neilson Studio for the students’ accompanying parents and families. This program has the potential to foster new relationships with Chinese schools, opening doors for future collaborations.
• Cranbrook School: During Term 2, a six-week pilot workshop program was developed for 65 Year 2 students at Cranbrook School, exploring creativity and self-expression through a weekly series of dance workshops. Directly aligned with the primary school curriculum, the program introduced foundational dance movement skills and dance appreciation tasks.
Our Open Class Program is at the heart of our vibrant, interconnected community. Through our diverse and inclusive open classes, people of all backgrounds and abilities come together to experience much more than the opportunity to learn dance: we ensure each class provides a space for people to share their passion, build skills, enhance their wellbeing and express themselves creatively.
“I felt very supported and had a lot of fun. Went in very anxious, came out having danced the hour away! Thank you so much! Will definitely be back!” – Class Participant
Sydney Dance Company’s School Holiday Workshops give young people the opportunity to explore new dance styles, deepen their passion for movement, and connect with like-minded peers. Held in a safe, inclusive environment, these workshops foster creativity, confidence, and lasting friendships, while helping participants grow as dancers and individuals.
“I loved the way I was able to meet and network with other individuals who have the same passion in a noncompetitive, supportive environment. It is different to other workshops because there is no pressure to make sure you get picked out at the end of class or get a good video, everyone just dances and it’s great.”
– School Holiday Workshop participant (14-18 years)
Our Classes On Demand platform has been instrumental in connecting hundreds of people from across the globe with the world-class dance training provided by Sydney Dance Company. Through this innovative offering, we’ve been able to unite people from different cultures, backgrounds, and locations, building a supportive and diverse international network that continues to grow, inspire, and connect people through the universal language of dance.
In the Studio Classes On Demand
77,797 attendances to Adult Classes
1,450 attendances to School Holiday Workshops
3,839
145 attendances to Short Courses
views6,281 (including free trial)
95 attendances to Parents and Toddlers Classes attendances to Family Classes
Family Classes provide a unique opportunity for grown-ups and their school-aged children to dance together, creating a space where multiple generations can bond through movement. These classes encourage shared experiences that foster deep connections, allowing families to build memories and strengthen their relationships. These drop-in classes, available in a variety of styles, give families the opportunity to explore dance together.
“Great class, amazing teachers who love to teach their students and see them grow through dance. I couldn’t recommend Sydney Dance Company enough!” – Class Participant
Parents and Toddlers Classes offer an introduction to movement for young dancers aged 2-4 years old, providing a playful and supportive environment for them to explore their physicality and imagination. Through creative dance activities, children are encouraged to use movement and storytelling to express themselves, fostering their creativity and emotional development. The focus on fun, exploration, and self-expression sets the foundation for a lifelong love of dance and movement.
“This was a wonderful way to bond with my granddaughter and play the games, enjoy the music and movement, explore different styles of music and be with little friends. It’s so great to hear a 3-year-old saying to everyone that she goes to Sydney Dance Company.” – Parents and Toddler participant
Sydney Dance Company’s philanthropy program has a huge impact on our ability to continue to create extraordinary contemporary dance experiences for people of all ages across Australia and around the world. So much of what the Sydney Dance Company does is through the generosity of our loyal supporters and partners.
Through our Philanthropy and Partnerships program, we bring new and boundary-pushing collaborators together. This focus is key to our success and sustainability in two ways:
• It ensures that our work is explorative, fresh, and sector-leading
• The collaborations pave the way for continued success for us by creating lasting moments that resonate through future programming and performances.
In 2024 for every $1 invested by the Government in Sydney Dance Company, we generated over $2 in self-sourced revenue. With costs continuing to outstrip growth in other income sources, we need to continue broadening our pool of supporters to ensure the sustainability of our world-leading company.
This year saw the creation of the Ambassadors Council. It is their role to advocate for Sydney Dance Company and thereby grow philanthropic support, helping us connect to new people, partners and supporters. Our group of Ambassadors hold a very special role in the Company and a place in our hearts.
Specified major gifts from visionary individuals play a vital role in the long-term sustainability of the Company by ensuring the continuation of cornerstone programs. This includes the Carla Zampatti Commissioning Fund, the Touring Fund, Dancers’ Circle Fund, the Neilson Foundation INDance and The Balnaves Foundation New Breed seasons.
Through the Touring Fund, for example, the Company was able to tour nationally and internationally in 2024: from the Kennedy Center in Washington to the Royal Opera House in London, from Barcelona and Belgrade and then from Cairns to Karratha. We are so proud to be Australia’s leading contemporary dance company and share the power of dance globally. The generosity of our donors makes this possible.
Throughout 2024, the Philanthropy and Partnerships team continued to provide opportunities for our supporters to engage and connect with the Company wherever possible. Our program of behind-thescenes experiences and intimate events allowed partners and donors to see and hear about the creative process and be part of the Sydney Dance Company world.
Sydney Dance Company’s annual fundraising gala, Dance Noir, has become the #1 A-list arts party in Australia, attracting a crowd of passionate and engaged supporters of the arts and dance.
Held on Saturday 30 August at the Walsh Bay Arts Precinct (Commercial 1, Pier 2/3), our 556 guests embraced the Punk Royal theme for a spectacular night of dancing and celebrating. The inimitable Courtney Act hosted the night which began with Board member Larissa Brehrendt AO’s beautiful Acknowledgment of Country.
There were spectacular performances for guests, including Sydney Dance Company dancers and students from the PPY program. The event was a huge success generating a year-on-year profit 25% higher than the previous year.
Dance Noir would not be possible without the tireless efforts of our wonderful Co-Chairs Peter Reeve and Mandy Foley and the Dance Noir Committee members. Sydney Dance Company is very grateful to everyone who contributed to the night’s success, including attendees, donors and the many organisations and individuals who provided prizes.
We acknowledge Create NSW for providing access to Pier 2/3 for this important event.
Our Donors make it possible for us to create and present new work, inspire future generations of artists and audiences and extend our reach, while making it possible to plan into the future.
If you would like more information about joining our family, please contact our Philanthropy and Partnerships Team on 02 9258 4882 or email philanthropy@sydneydancecompany.com
Platinum Donors
We would like to extend special thanks to our Platinum Donors for their enduring commitment and passion for Sydney Dance Company.
The Late Robert Albert AO RFD
RD & Elizabeth Albert
The Balnaves Foundation
Jane & Andrew Clifford
Crown Resorts Foundation
Julian Knights AO & Lizanne Knights
Jules Maxwell
Andrew Messenger
Naomi Milgrom AC
Naomi Milgrom Foundation
The Neilson Foundation
Judith Neilson AM
Packer Family Foundation
Gretel Packer AM
Thyne Reid Foundation
The Wales Family Foundation
Carla Zampatti Foundation
Mary Zuber
Visionary Patron
Brett Clegg
Take A Seat Campaign
Our Take a Seat supporters have enabled the transformation of our Walsh Bay Arts Precinct home.
The Late Robert Albert AO RFD
RD & Mrs Elizabeth Albert
David & Selina Baxby
Jillian Broadbent AC
Todd Buncombe
Livinia Clegg
Janine Collins
Judy Crawford
Desmon Du Plessis
& David Jonas
Anne Dunn & Patricia Buick
In memory of Katherine
Kar Lum Fan
Deborah & David Friedlander
Margaret Gibbs
Andy Grant
Poppy Mallett
Craig & Iohna Mercer
In memory of Nola McCullagh
Karen Moses
The Moses Family
Paris Neilson
India Neville
Lizzi Nicoll
Emma-Jane Newton
Chris Paxton
Rebel Penfold-Russell
Tim Rahn
Nick Read
Victoria & Peter Shorthouse
Catherine Smithson
Ruth & Bruce Smithson
Noel Staunton
In loving memory of Ian Wallace
Dancers’ Circle
To celebrate our milestone 50th anniversary in 2019, we were proud to establish the Dancers’ Circle. In 2024 the Dancers’ Circle continued to support the growth and development of our ensemble of dancers, enabling pathways for their time with the Company and beyond.
Patron: Julian Knights AO
Hayley & James Baillie
Brett Clegg & Annabel Hepworth
Paula & Damien Cronin
Manuela Darling
Steph Fairfax
Deborah & David Friedlander
Margaret Gibbs
Andrew & Emma Gray
The Hansen Family
Julian Knights AO & Lizanne Knights
Roslyn Packer AC
In memory of Nola McCullagh
Rachel & Neil Sinden
Pip & Dick Smith Foundation
Mary Zuber
2024 Early Careers Artists
The Wales Family Foundation
2024 Company Traineeship
The Wales Family Foundation
2024 Accessibility Supporter
JACE Foundation
Annual Partner Program
Our annual Partner Program underpins all our activities, enabling us to create, commission and share exceptional contemporary dance experiences with people of all ages, across Australia and around the world.
Performance Partners
($20,000 - $50,000)
The Late Robert Albert AO RFD
RD & Mrs Elizabeth Albert
Hayley & James Baillie
Bertalli Family Foundation
Jillian Broadbent AC & Olev Rahn
Brett Clegg & Annabel Hepworth
Paula & Damien Cronin
Manuela Darling
Susie Dickson & the late Martin
Dickson AM
Steph Fairfax
Deborah & David Friedlander
Margaret Gibbs
Andrew & Emma Gray
The Hansen Family
Alexa & David Haslingden
Susan Maple-Brown AM & the late Robert Maple-Brown AO
The Alexandra & Lloyd Martin
Family Foundation
Macquarie Group Foundation
In memory of Nola McCullagh
Nelson Meers Foundation
Naomi Milgrom Foundation
The Sid & Fiona Myer Family Foundation
Rebel Penfold-Russell OAM & Ian Low
Ruth Ritchie Family Fund
Rachel & Neil Sinden
Mary Zuber
Studio Partners ($10,000+)
Pam & Doug Bartlett
Aniek Baten
Paul Brady & Christine Yip
Karola Brent & Tim Reed
Paul Cochineas
Michelle Deaker
Helen Eager & Christopher
Hodges
Stephen Fitzgerald
Girgensohn Foundation
Kay Freedman
& the late Ian Wallace
John Griffiths & Beth Jackson
David & Fee Hancock Foundation
Denise Kirkpatrick
Julian Knights AO & Lizanne Knights
Emma-Jane Newton & Chris Paxton
Lou Oppenheim
Cathie & Paul Oppenheim
Pallion
Leslie Stern & John Head
Victoria Taylor
Alenka Tindale
Barbara Wilby & Christopher Joyce
Duet Partners ($5,000+)
Nur Ali
John Barrer
David & Selina Baxby
The Berg Family Foundation
Drew Bradford
Jane Bridge
Delia Burrage
Andrew Cameron AM & Cathy Cameron
Champion Family Foundation
Tanya Diesel
Daniel Droga
Belinda Gibson
Mikaela Haberfield & David Brown
Lois Harris
Linda Herd
Terri Hollings in memory of Erin Ostadal
John Kaldor AO
Danita Lowes
peckvonhartel architects
Kylie Rixon
Bernard Ryan & Michael Rowe
Penelope Seidler AM
Matt Shelmerdine
Stedmans
CA Scala & DB Studdy
Turnbull Foundation
David Wayne
Kathy White
Ray Wilson OAM
Adam Worling Public Relations
Dance Partners ($2,000+)
Phillip & Catherine Brenner
Stephen Burcher
Jacqui Burton
Jade & Richard Coppleson
Adam Driussi
Ari & Lisa Droga
Peter Reeve & Jaycen Fletcher
Mckeage Cole Foundation
The Rossi Foundation
Hon. Ben Franklin
Bradford Gorman
& Dean Fontana
Andy Grant
Anna & Richard Green
Hon Don Harwin
Cheryl Hatch
Catherine Parr & Paul Hattaway
Gabrielle Iwanow
Tina & Mark Johnson
Rebecca & Ben Keeble
Les Kennedy
Eve Lang
Susie Manfred & Hunter
McPherson
Karen Moses
Steve Paridis
Susan Perrin-Kirby
Greeba Pritchard
Justin & Patty Punch
Warryn & Kellie Robertson
Ezekiel Solomon AM
Cheryl M Spoor
Christine Thomson
Rehearsal Partners ($1,000+)
Janet Abernethy & Richard Willis
Annette Adair
Anna Baillie-Karas
Gil Baron
Alice Bedlington
Candy Regina Bryce
Andrew Butler
Lucinda Christie
Susanne de Ferranti
Linda Ellis
Nicole Fogarty & Giles Borten
Helen Forrester
Amber Gooley
Rachael Haggett
Ben Harlow
Val & Mal Hebblewhite
Amanda Heckes
Amy Ho
Kaye Hocking
Graham & Judy Hubbard
Marian Ibrahim & the late Nabeel Ibrahim
Sarah & Robby Ingham
A. Sasha Jaksic
Lynton Jamieson
Elias & Jana Juanas
Robert Kidd
Royston Lim
Camilla Marr
James Sharp & Karl May
Dr Natalie E Pelham
& Prof Carol Mills
Elizabeth Morgan
Victoria Morish
Paul Newfield
Beverly Ng
Tanja Liedtke Endowment
Tim Olsen
Elizabeth Pakchung
Marion Pascoe
Greg Peirce
Katia Pereira-Mendoza
Sarah Rennie
Kate Richardson
Rowan & Annie Ross
Dr Brindha Shivalingam
Rebecca Silk
Jann Skinner
Mike Thompson
Bernadette Walker & Allen Iu
Sherlock Wealth
2024 Carla Zampatti Commissioning Fund
With visionary support from the Carla Zampatti Foundation and the generosity of the 2024 Carla Zampatti Commissioning Fund supporters.
Pam & Doug Bartlett
Paul Brady & Christine Yip
Jillian Broadbent AC & Olev Rahn
Belinda Gibson
John Griffiths & Beth Jackson
Alexa & David Haslingden
Linda Herd
Dr Kenneth Howison
John Kaldor AO
In memory of Nola McCullagh
Rebel Penfold-Russell OAM
& Ian Low
Ruth Ritchie Family Fund
Penelope Seidler AM
Stedmans
Leslie Stern & John Head
2024 Touring Fund
John Barrer
Jane Bridge & Michael Lambert
Susie Dickson
& the late Martin Dickson AM
Kay Freedman
Bunny Gardiner-Hill
Girgensohn Foundation
Emma & Andrew Gray
Matt Shelmerdine
Catherine Smithson
Victoria Taylor
Sylvia Tooth
Kathy White
Barbara Wilby
& Christopher Joyce
Ray Wilson OAM
Bequests
The Estate of C.R. Adamson
The Estate of Patricia Cameron-Stewart
The Estate of Janet Fischer
The Estate of Patricia Leehy
The Estate of Carina Martin
The Estate of Lorelle Thomson
The Estate of Peggy Watson (Raczkowska)
2024 Pre-Professional Year
Doug Hall Foundation Scholarships
The Wales Family Scholarships
Mary Zuber Scholarships
The Hephzibah Artist Development Program
The late Ian Wallace
2024 Training Associate
Tim Fairfax AC
2024 Training Administrator
Tim Fairfax AC
Board of Directors
Emma-Jane Newton (Chair)
David Baxby (until August)
Larissa Behrendt AO
Jillian Broadbent AC
Michael Dagostino (from August)
David Friedlander
Emma Gray
Andrew Hagger (from August)
Alexa Haslingden
Mark Hassell
Paris Neilson
Sandra McCullagh
Bianca Spender
International Patron
Dame Darcey Bussell
Ambassadors’ Council
Sarah Myer, Chair
Victoria Balnaves
Pam Bartlett
Judy Crawford
Chum Darvall
Jaycen Fletcher
Mandy Foley
Rebekah Giles
Bradford Gorman
The Hon. Don Harwin
Samuel Joyce
Alexandra Knights
Skye Leckie OAM
Amelia Liveris
Jules Maxwell
Andrew Muston
Rebel Penfold-Russell OAM
Peter Reeve
Ruth Ritchie
Keinwen Shephard
Stephen Thatcher
Bee Wood
Adam Worling
Susan Wynne
Mary Zuber
Management
Artistic Director
Rafael Bonachela
Executive Director
Lou Oppenheim
Executive Assistant to Rafael Bonachela and Lou Oppenheim
Amy Burrows
Director of Programming
Brendan O’Connell (from April)
Senior Producer
Dominic Chang
Associate Producer – Ensemble
Kerry Thampapillai
Associate Producer – Wharf
Michael Sieders
International Touring Consultant
Alan Coates (until April)
Chief Financial Officer
Sean Radcliffe
Financial Accountant
Melissa Sim
Payroll Assistant
Carina Mission
Director Training and Education
Polly Brett
Head of Open Programs & Learning
Samantha Dashwood
Dance Class Manager
Ramon Doringo
Head of Training
Linda Gamblin
Pre-Professional Year
Course Coordinator
Tobiah Booth-Remmers
Training Associate
Juliette Barton
Learning Associate
Alexandra Panetta
Conditioning Studio Manager
Felicity McGee
Learning Manager
Justine Turner
Learning Coordinator
Jacqueline Cooper
Learning Administrator
Eugenie English
Customer Experience and Venue Manager
Andy Grant (January)
Sue Neilsen (from April)
Customer Service Assistant
Jack Calver (until February)
Laurence Corbett (February to September)
Mardi Downing (from September)
Director Philanthropy and Partnerships
Alan Watt (until August)
Fiona Crockett (from September)
Head of Philanthropy
Michelle Boyle (until January)
Katharine Seymour (from February)
Philanthropy Manager
Lachlan Bell
Trust & Foundations Manager
Madeleine White (until August, on leave)
Philanthropy Coordinator
Bianca Mulet
Partnerships and Events Coordinator
Jasmine Cook (from July)
Director Market Development
Olivia Blackburn
Marketing Manager
Natalie Zagaglia
Marketing and Communications Coordinator
Vivienne Crowle
Laurence Corbett (until February)
Gabriella Lay (from April)
Marketing Assistant
Rohan Furnell (from July)
Head of Media Communications
Alexandra Barlow (until July)
Head of Strategic Communications
Natalia Carozzi (from February)
Head of CRM and Business Intelligence
Louise Davidson (until June)
Thida Kyaw (from July)
Ticketing Specialist
John Calvi
Resident Multimedia Artist
Pedro Greig
Technical Director
Guy Harding
Company and Resident Stage Manager
Simon Turner
Technical Coordinator
Tony McCoy
Head of Wardrobe
Annie Robinson
Costumiers
Nicole Artsetos
Tim Corne
Aleisa Jelbart
Monica Smith
Bronte Hilder
Lisa Mimmocchi
Harriet Ayers
Jacqui Lucy
Katie Fitchett
Production and Venue Technicians
Ben Anshaw
Jem Hoppe
Travis Kecek
Tom Kelly (Trainee)
Shane Placentino
Jenn Ryan
Cameron Smith
Allan Vella
Jackson Edwards
Jim Atkins
William Phillips (Trainee)
Stage Managers
Jemma Elyse Sproul (Club Origami)
Mackenzie O’Byrne (PPY)
Rehearsal Director
Richard Cilli
Rehearsal Associate
Charmene Yap
Photography Credits
Neil Bennett
Dan Boud
Jackie Cooper
Tiffany Garvie
Pedro Grieg
Jacquie Manning
Ivan Trigs Miras
Belinda Rolland
Prue Stent
Jack Thomson
Albert Uriach
Lin Wei
The Company
Dancers
Lucy Angel (until March)
Timmy Blakenship
Anika Boet (until August)
Dean Elliott
Riley Fitzgerald
Liam Green
Luke Hayward
Morgan Hurrell
Ngaere Jenkins
Sophie Jones
Naiara de Matos
Connor McMahon
Piran Scott
Emily Seymour
Mia Thompson (from August)
Coco Wood
Chloe Young
Trainee
Tayla Gartner
Company Doctor
Dr. Michael Berger
Sports Doctor
Dr. James Lawrence
APA Sports & Exercise Physiotherapist
Ashlea Mary Cohen
Shannon Trotter
Isabella De Santis
Employee Assistance Program Manager
Dr. Sallie Grey
Company Teachers
Anton
Emily Amisano
Richard Cilli
Joshua Consandine
Davide Di Giovanni
Holly Doyle
Cathie Cross
Jenni Large
Felicity McGee
Iohna Mercer
Charmene Yap
Across 2024 Sydney Dance Company employed 295 staff and contractors. The lease of Sydney Dance Company premises at Walsh Bay has a significant effect on the Company’s Balance Sheet and P&L at reporting date and will continue in future years due to the accounting required under “AASB 16 Leases”.
After this accounting requirement, the deficit for the year ended 31 December 2024 was ($1,924,160).
Management calculates that an operational deficit of ($1,523,177) was achieved in 2024. For further information see the Sydney Dance Company 2024 Financial Report.
