Sydney Dance Company is based at Walsh Bay Arts Precinct, Sydney. Our studios are situated on the lands and over the waters of the Gadigal.
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.
It is with pleasure that we welcome you to Spellbound, a monumental triple bill featuring Rafael Bonachela’s Spell, Melanie Lane’s Love Lock and Somewhere between ten and fourteen by rising choreographer Tra Mi Dinh.
At the core of our Company is creating and presenting new work, inspiring future generations of dancers and audiences, and extending our reach across Australia and the globe. And for that reason, I am so happy to be able to share Spellbound with audiences in theatres across New South Wales.
None of this would be possible without the passionate commitment of our partners, supporters and those who have invested in our vision. I would also like to recognise the ongoing support of the Sydney Dance Company Touring Fund, the Australian Government delivered through Creative Australia and the NSW Government through Create NSW. Thank you also to The Art House Wyong and all our presenting partners for working with Sydney Dance Company to share these works with their communities.
Thank you to everyone at Sydney Dance Company, on stage and behind the scenes, for their dedication, curiosity and ongoing collaboration. I would like to also acknowledge and thank the Sydney Dance Company Board for their leadership and guidance. Every member of Sydney Dance Company plays an important role in bringing these extraordinary works before our audiences here, across Australia and as we tour internationally.
Please join us in celebrating Spellbound, a truly special season; a triple bill that brings together some of Australia’s most exciting artists to collaborate and create with our wonderful Ensemble.
Lou Oppenheim Executive Director
What a delight it is to be presenting to you this mighty triple bill – Spellbound
This production brings together three unique and different works that explore the spectrum of human experience - from the ephemeral beauty of twilight to the giddy and sometimes hypnotic experiences of love – subjects that defy meaning and are truly expressed through dance.
What excites me is that the works are not about similarity, but about contrast — each world distinct in style, language and history. Yet the act of placing them together on the same stage, performed by the same dancers, creates a shared space where those differences become part of a larger story about contemporary dance in Australia today.
Spellbound sees the return of Melanie Lane working with the Company after the success of WOOF in 2017 and 2019. Melanie is one of Australia’s most interesting dance voices and we are excited to have her working with us.
I’m captivated by Melanie’s collaboration with Akira Isogawa, an icon in Australian fashion, whom we have worked with before. Completing the creative team with Clark’s music and Damien Cooper’s lighting design, Love Lock is a fusion of bold creativity.
This season also includes Tra Mi Dinh’s Somewhere between ten and fourteen, which originally debuted in 2023 as part of our New Breed program, supported by The Balnaves Foundation and has since been reworked for the main stage with an expanded Ensemble. The hypnotic rhythm in this work perfectly captures the beauty found in the changing light of day. It is magnificent to bring this work back,
Finally, I am so excited to present my work Spell. The origins of Spell started in July 2025, at the artists retreat, Orsolina28 Art Foundation in northern Italy where the Ensemble and I were able to spend an unforgettable residency, a week of creative development. Spell is a fusion of movement, light and sound that I am excited to be able to finally share.
Thank you to the Ensemble for their commitment and imagination, the amazing collaborators and creative teams for each work, as well as the many artists and crew who have contributed to bringing Spellbound to life.
Sharing these inspiring works with audiences is only possible with the ongoing commitment of our Board, partners and supporters. I truly thank you for allowing us to keep doing what we love every single day. I particularly thank the Visionary Patron, the Clegg Foundation and our Commissioning Partner, Orsolina28 Art Foundation for their generous support for this season.
I cannot wait for you to experience the journey with us that is Spellbound
Rafael Bonachela Artistic Director
Choreography
Rafael Bonachela
Music Ólafur Arnalds, Bryce Dessner, Screamin’ Jay Hawkins, and Alice Smith
Lighting Design Damien Cooper
Costume and Kelsey Lee Set Design
Proudly supported by Visionary Patron, the Clegg Foundation. Commissioning Partner, Orsolina28 Art Foundation.
Rafael Bonachela is a Choreographer, Artistic Director and Curator whose career has seen him successfully span high art and popular culture, working across a range of art forms, including contemporary dance, art installations, pop concerts, musicals, film, commercials and fashion.
Bonachela was born in La Garriga near Barcelona (1972) where he began his early dance training before moving to London to join the legendary Rambert Dance Company where he danced from 1992 to 2004.
In 2008, Rafael premiered his first full-length production 360° for Sydney Dance Company. Less than six months later he was appointed Artistic Director, making international headlines and heralding a new era in Australian contemporary dance. His vision for the Company embraces a guiding principle that sees commissioned dance works by Australian and international choreographers alongside his own critically acclaimed creations.
Bonachela’s work is strong, sober and sharp. The exploration of pure movement is where he finds his unmistakable style. The result is an incandescent dance that springs from the power of movement, in which energy and muscle strength combine with a great emotional sensitivity.
You can read more of Rafael’s biography here.
About Spell
I found myself at an event last year, where I heard the inimitable Alice Smith sing her cover of I Put A Spell On You. It is a haunting performance that feels like a hypnotic love, a longing, on the brink of obsession. There is raw emotional power and a trance-like quality to the song that adds new perspective and depth into the lyrics. I was eager to explore how this feeling, and the idea of a spell as a transformation could be conveyed through dance.
Music guided me in every aspect of this work. From Alice Smith’s singular cover to a choral arrangement of Momentary by Olafur Arnalds,
and a suite of three songs for solo violin by Bryce Dessner that allows us to oscillate between movement and stillness. I was drawn to building elements of compression and release within the choreography to build a series of dances that are ‘spells’.
We started working on Spell in July 2025, at the artist retreat Orsolina28 Art Foundation. To be building this world in one of the most magical places I’ve ever experienced was a true gift. Orsolina28 feels designed to nurture creativity — the natural beauty, the light, the stillness — everything invites you to slow down and connect more deeply, not only with the work but with yourself. Our time there was incredibly special. The residency gave us a rare sense of space, both physical and mental, that allowed us to immerse fully in the process with focus, clarity, and freedom. Bryce Dessner was also able to join us there and the texture of his music always provides so many different cues to weave into. It’s a pleasure to include his compositions in this work.
Being back in Australia, it’s a joy to continue to build this work with our incredible dancers, who are always up for pushing new heights of technicality and power, creating liminal, hypnotic moments throughout this work.
I so enjoy working with Kelsey Lee and collaborating again in Spell is very special. Lee’s stage design opens portals between the spells, guiding the audience through contrasting dimensions. Each of the five spells has its own atmosphere, and her visual language allows those worlds to emerge and dissolve before the audience’s eyes. Her costumes offer a beautiful, thoughtful and evocative simplicity that give a perfect balance to the highly technical choreography.
And of course, my long-term collaborator, Damien Cooper, whose lighting always takes my work to new places, adding a layer of emotional mystique that really sings.
I am so excited for you to see Spell and hope you enjoy each moment.
Damien Cooper works internationally across theatre, opera and dance. Damien’s credits for Sydney Dance Company include Somos, Ascent, Resound, ab [intra], Impermanence, Cinco, Ocho, Grand, Air and Other Invisible Forces, Orb, momenta and Love Lock. Other dance credits include Baleen for Adelaide Festival, State for Western Australian Ballet, Of Earth and Sky for Bangarra, IDK for Force Majeure, The Narrative of Nothing, Firebird and Swan Lake for Australian Ballet, Giselle for Universal Ballet, Birdbrain, Supernature, Habitus and Be Your Self for Australian Dance Theatre, The Frock for Ten Days on the Island Festival, Affinity for Tas Dance, Mortal Engine for Chunky Move and Grey Rhino for Performing Lines.
Other theatre credits include Counting & Cracking for Edinburgh International Festival/Belvoir, The Weekend, Into The Woods, Mark Colvin’s Kidney, The Great Fire, Radiance, The Glass Menagerie, Coranderrk, Miss Julie, Stories I Want to Tell You in Person, Cat on a Hot Tin Roof, Peter Pan, Private Lives, Conversation Piece, Strange Interlude, Summer of the Seventeenth Doll, Neighbourhood Watch, The Seagull, Gethsemane, Keating!, Toy Symphony, Peribanez, Stuff Happens, The Chairs, The Spook, In Our Name, The Underpants and The Ham Funeral for Belvoir; On the Beach, White Pearl, Disgraced, Orlando, Arcadia, A Midsummer Night’s Dream, The Golden Age, Suddenly Last Summer, The Women of Troy, The Lost Echo, Riflemind and Tot Mom for Sydney Theatre Company; Macbeth and The Tempest for Bell Shakespeare; The Ring Cycle, Der Ring des Nibelungen, Aida and Cosi Fan Tutte for Opera Australia; A Midsummer Night’s Dream for Houston Grand Opera, Canadian Opera, Lyric Opera Chicago; and The Magic Flute for Lyric Opera Chicago.
For lighting design, Damien has won three Sydney Theatre Awards, four Green Room Awards, and two Australian Production Design Guild Awards.
Note Five moments of magic! Unique, individual, spell binding. Magic is unique on stage, contrasting between gentle stillness and darkness all the way through to TAA DAA moments. Thrilled to have joined Rafael and Kelsey in creating this beautiful journey. Enjoy!
Kelsey is a set, costume and lighting designer for theatre, dance and events. Previously for Sydney Dance Company she was the Set & Costume Designer for Somos and for the Australian Chamber Orchestra collaboration Silence & Rapture.
Other credits include Set Designer: Nothing; A Practical Guide To Self Defence (NTofP). Costume Designer: Switzerland (Ensemble Theatre). Co-production Designer & Lighting Designer: Destroy, She Said (Belvoir’s 25A). Set & Lighting Designer: An Ox Stand On My Tongue (Belvoir 25A); Jali (Griffin Lookout). Lighting, Set & Costume: Wilfred Gordon McDonald Partridge; There’s a Sea In My Bedroom (Australian Chamber Orchestra). Lighting Designer: Mutiara (Marrugeku); Gurr Era Op (Force Majeure); 4000 Miles (Sydney Theatre Company); Destiny (Melbourne Theatre Company); Whitefella Yella Tree, Sex Magick, The Lewis Trilogy (Griffin Theatre Company), The Comedy Of Errors (Bell Shakespeare), Big Girls Don’t Cry, Curious Incident of the Dog in the Night Time, Well Behaved Women, A Room of One’s Own (Belvoir St Theatre); Autotune (regroup), Life Is A Dream (Fervour), Tell Me On A Sunday (Hayes Theatre); Masterclass; The Memory of Water; A Letter For Molly; Killing Katie (Ensemble Theatre); Queen Fatima (NToP); Extinction of the Learned Response, Skyduck, Kasama Kita (Belvoir 25A); April Aardvark (ATYP); Sistren, Good Dog; If We Got Some More Cocaine I Could Show You How I Love You (Greendoor Theatre Company); Associate Lighting Designer: At What Cost?; Blue (Belvoir St Theatre); Cut The Sky (Marrugeku).
Lighting, Set & Costume: Lulu: A Modern Sex Tragedy (NIDA).
Note
Spell is a collection of images, intended to charm us as, the viewer, with each one. The music is incredibly provocative, so much so that the space evolves with every track. In collaboration with Rafael, and lighting designer Damien Cooper, we have explored the elasticity of the space, having moments of great expanse and moments of great intimacy. How could we make every image simple and beautiful and surprising and powerful? The space engages with and reflects the incredible dancers performing Rafael’s magnetic and raw choreography, at times as one, at other times as an external force. The costumes also needed to be a spell of their own. The palette in itself is quite enchanting. At every point the design aims to reflect the elegance and beauty of the music, the rawness and power of the choreography. Enjoy, and allow yourself to be charmed and moved by this beautiful piece.
Choreography Tra Mi Dinh
Music Tilman Robinson
Lighting Design Alexander Berlage
Costume Design Aleisa Jelbart
Originally performed by Sydney Dance Company as part of New Breed 2023, co-presented with Carriageworks and proudly supported by Principal Partner, The Balnaves Foundation.
Tra Mi Dinh is an award-winning choreographer and dancer working across Naarm (Melbourne) and Gadigal (Sydney). She is emerging as a distinct artist in dance, working as a dancer for leading companies Lucy Guerin Inc, and Stephanie Lake Company, whilst also establishing her own choreographic voice. Tra Mi’s first major choreographic commission The ___ was awarded the prestigious Keir Choreographic Award in 2022. In 2023, Sydney Dance Company commissioned her for New Breed, where she made Somewhere between ten and fourteen. In late 2024, she was commissioned by Lucy Guerin Inc for the PIECES season – premiering her duet Seven dances for two people to high acclaim. In 2025 Tra Mi returns to Sydney Dance Company to restage her New Breed piece for presentation as part of Continuum. Tra Mi’s other choreographic credits include HOLDING (2021, March Dance), And, again (2022, commissioned by DirtyFeet), (UP) HOLDING (2023 Dancehouse Season 1 program), Not the Piece (2023, Readymade Works commission with PACT), Nhang Tram Huong (2024, Opera House commission for Shortwave).
Her choreographic work is driven by an unrelenting fascination with time; harnessing the dancing body to magnify and disrupt our experience of linearity, tension, and expectation. She creates distinct yet interconnected dance work that explores our experience of time and our relationships to endings, beginnings, enduring, advancing, and transforming. Tra Mi is interested in movement that is virtuosic, precise, absurd, embodied, surprising, energetic, and rhythmic. Tra Mi’s choreographic practice has been nurtured with residencies at Bundanon, Australian Dance Theatre, Critical Path, Lucy Guerin Inc, DirtyFeet, ReadyMade Works,
Tasdance, Sydney Fringe, March Dance, and Ausdance NSW. Currently, Tra Mi is an Artist in Residence at The Substation. Tra Mi’s work as a dance artist was recognised with a fellowship from the late Chloe Munro AO in 2022.
Tra Mi is a keen member of the Australian dance ecology, evident in her recent DRIP events (Dancers Relaxing In the Park) – a relaxed picnic for the dance community that aims to provide a casual way for dancers to connect outside the studio or theatre foyer. She has also recently announced a new workshop Dancers are Dancing Series, a five-day intensive led by five independent choreographer/dancers for professional and emerging dancer artists to expand their professional development.
Somewhere between ten and fourteen is a study on dusk, illuminating and indulging in the transient yet expansive moments between day and night.
Witnessing the rise and fall of colour during these ephemeral moments is to me, a daily invitation to experience transformation in real time, watching and sensing its movement across the sky.
A particular shade of blue that reveals itself in the late twilight of a clear night is what inspired me to create this work; to deepen my appreciation for its impermanence. It emerges when the sun has dipped somewhere between ten and fourteen degrees below the horizon. It’s a beautiful, fleeting moment that brings me back to my breath and is when I feel most present.
Surrendering to the ever-shifting motion of colour and time, this work manifests as a choreography propelled by the movement of light. Bodies and energy chase the impermanence of transformation, relinquishing the precision of borders and edges to fall softly into the embrace of change.
My deep gratitude to Rafael for inviting me to dive back into the world of this work. As an independent artist, it is a rare gift to be able to return to a work, let alone reimagine and expand it for a larger cast. Enriching the choreographic language and refining its world with Tilman Robinson (sound), Aleisa Jelbart (costume), and Alexander Berlarge (lighting) has been a real treat.
Thank you to the dancers for their trust, investment and embodiment of this work; to Tilman for his love, and for being my everyday sounding board and cheerleader; to the creative team for working with such tender care and precision; to all at Sydney Dance Company for their support; and to my family – Cherry, Tram Huong, and Lam for their unwavering love and enthusiasm.
Tilman Robinson is a composer, producer and sound designer. He creates dark ambient and maximalist electro-acoustic music drawing on a wide range of genres. Tilman’s diverse output focuses on dense sound, incorporating acousmatics and psychoacoustic principles. His music ranges from drone heavy ambient meditations, to pointillistic flurries of electronically altered acoustic sound, to rich immersive field recordings. Tilman has released several albums and has worked extensively as a cross art form collaborator for well over a decade. He is one of the most in-demand creative professionals in his field, having contributed scores and sound design to innumerable artworks, events, films and television.
“...there’s a lingering sense of bleak romanticism here, a deliberate and human design that leaves the natural world as a beautiful and separate image.” – The Wire, on CULTURECIDE
“This is not just a highfalutin and overly cerebral body of work, it’s also a cracking album of sonic textures to get entirely lost in.” – Beats per Minute, on CULTURECIDE
“…a colossal cinematic marvel…” – Headphone Commute on Deer Heart “…addictive…” – Sunday Times, London on Deer Heart
“Tilman mesmerised an audience ... with music that was at once soothing and avantgarde, but never anything other than warmly human” – Alex Needham (The Guardian)
Note
The original iteration of Somewhere between ten and fourteen in 2023 was the first in a now series of collaborations between myself and Tra Mi. As such, it is filled with the flurry of ideas that fountained between us in its inception. Tra Mi was adamant that the score of both the choreography and the music be
almost cosmic in its approach: a Big Bang slowly diminishing towards an entropic end.
The music was made at the same time and often in the same room as the choreography. Incredibly, most of what you see and hear was made in a two week explosion of creative energy (that never really reached an entropic stasis). Layer upon layer of electronic sound coalesced into what is now a hyper detailed and intricate mesh of polyrhythm and texture.
This version of the score follows the same patterns and while details have been tweaked, finessed and added, the original shines through as a testament to the creative vision and fury of the work’s initial creation. Drastic musical changes were trialled and ultimately discarded as we recognised the wonder of what we had made. It can take time to realise you were right all along.
Tra Mi exhibits an almost limitless fountain of creativity and an attention to detail that is formidable. This work stands as a testament to both.
Alexander Berlage is a multi award-winning director and lighting designer.
Alexander’s acclaimed production of A Streetcar Named Desire won four Sydney Theatre Awards including Best Independent Production and Best Direction of an Independent Production. His smash-hit, sold out production of American Psycho won nine Sydney Theatre Awards including Best Direction of a Musical and Best Production of a Musical.
Alexander’s production of Cry Baby sold out and won four Sydney Theatre Awards including Best Direction of a Musical and Best Production of a Musical. He has twice won the Sydney Theatre Award for Best Lighting Design of an Independent Production – for his work on American Psycho and on 4:48 Psychosis.
Directing credits include: Women On The Verge Of A Nervous Breakdown (with Pinwheel Productions), Young Frankenstein, American Psycho, Cry-Baby (at Hayes Theatre Co); Let The Right One In (Darlinghurst Theatre Co.); Future Remains (with Sydney Festival), Earth.Voice.Body, Resonant Bodies (Sydney Chamber Opera); Gloria (Outhouse Theatre Co); A Streetcar Named Desire, Hand To God (Red Line Productions).
Alex’s lighting design credits include: The Importance Of Being Earnest, Julia, Hubris & Humiliation, Rbg: Of Many, One, Lord Of The Flies, Lethal Indifference, Cloud Nine (Sydney Theatre Company); Wolf, Peepshow, Duck Pond, Son (Circa); Dance Nation (State Theatre Company of South Australia/Belvoir); Orpheus And Eurydice (Opera Queensland/ Opera Australia/Circa/Edinburgh International Festival); Antarctica, Museum Of Modern Love (Sydney Festival/Seymour Centre); Dead Cat Bounce, Good Cook. Friendly. Clean., Nosferatutu or Bleeding At The Ballet (Griffin Theatre Company); New Breed (20182024), PPY (2018-2024) (Sydney Dance Company); Unqualified, Marjorie Prime, The Kitchen Sink, Buyer & Cellar (Ensemble
Theatre); Exit The King, Stalking The Boogeyman, 4:48 Psychosis, There Will Be A Climax, Doubt (Old Fitz Theatre); American Psycho, Cry-Baby, Young Frankenstein (Hayes Theatre Co).
Note
It has been incredibly special to revisit this work with Tra Mi Dinh and the team, first created for New Breed 2023 and now reimagined for the mainstage. For me, designing the lighting for Somewhere between ten and fourteen has been a meditation on transience - the way light slips, shadows lengthen, and the horizon dissolves into ever-richer shades of blue. I was drawn to dusk’s evolving beauty: the fleeting glow, the ambiguity, the sense of constant becoming. In this work, light is never still; it moves, transforms, and unsettles, echoing the bodies it illuminates and finding harmony with Tra Mi Dinh’s mesmerising choreography, Alesia Jelbart’s stunning costumes, and Tilman Robinson’s transcendent score.
Aleisa Jelbart is an award-winning Costume and Stage Designer based on Gadigal land, Sydney, specialising in movement, dance, and cross-disciplinary performance.
Aleisa has collaborated with arts organisations including Sydney Dance Company, The West Australian Ballet, Bangarra Dance Theatre, The Australian Ballet, Opera Australia, The Royal New Zealand Ballet, Bell Shakespeare, Legs on the Wall, BlakDance, Singapore Ballet, Staatstheater Nürnberg and The Komische Oper Berlin. Her designs have been presented in performances across Australia, New Zealand, Europe, the UK, and the United States and have been featured in exhibitions and presentations at the National Portrait Gallery, the Biennale of Sydney, Gertrude Contemporary, Perth Institute of Contemporary Arts and the TarraWarra Biennial.
Aleisa has worked extensively with Sydney Dance Company since 2014, designing costumes for major works by Rafael Bonachela, Melanie Lane and Tra Mi Dinh and over 30 new commissions in the company’s New Breed program.
As an educator, Aleisa has led design workshops and classes for The Australian Museum, Australian Theatre for Young People, Matriark Theatre, City of Sydney, and Design Centre Enmore. In 2019 she was Artist in Residence at the Chris O’Brien Lifehouse’s Arterie program, working with patients in a therapeutic art setting.
Aleisa is the recipient of the 2014/15 Hephzibah Tintner Fellowship for Production Design and the 2016 Berlin New Music Opera Award from the Opera Foundation for Young Australians.
Note
Early in the design process, Tra Mi and I discussed how the costumes could evoke a sense of presence within the natural world
at dusk. We decided on a blue gradient, representing a range of tones seen in the sky just after sunset. It was important for the costumes to feel light and airy, yet simultaneously grounded, reflecting an awareness of the changing light and one’s place within it.
The fabric selection of the tops and pants supported these ideas, but also took into consideration the practical requirements of the work. We carefully considered the appearance and movement of the tops - the transparency, how they reacted to light and the way they moved with the dancers. The pants were to feel structured and pedestrian, while still allowing for movement. The fabric was dyed to the specific blue hues we chose.
Ultimately, the costumes encapsulate an abstraction of a feeling, a specific place and time. I want to thank the wardrobe department at Sydney Dance Company for bringing them to life so beautifully.
Choreography
Melanie Lane
Music Clark
Set and Lighting Damien Cooper
Design
Costume Design Akira Isogawa
Originally supported as part of Sydney Dance Company’s TwoFold by Visionary Patron, the Clegg Foundation.
Melanie Lane is an Australian choreographer and performer of Javanese/European cultural heritage. She works across visual arts, theatre, music and film. Her work interrogates physical and cultural histories to explore current social mythologies and extrapolates these into surreal futures that are confounded, broken and reconfigured. These independent works have been presented globally at festivals and theatres in Europe, Indonesia, United States and Australia. Drawing on her European and Indonesian heritage Lane moves between cultural landscapes and influences.
Alongside commissions with WA Ballet, Sydney Dance Company, Australasian Dance Collective, DanceNorth, Chunky Move, Schauspiel Leipzig, National Dance Company of Wales and HAU Berlin, her collaborations extend to artists: Marrugeku/ Bhenji Ra, Clark, Adena Jacobs, Amos Gebhardt, Leyla Stevens, Monica Lim and Rianto.
Her choreographic work for theatre and opera includes English National Opera’s Salome (London, 2018), Burgtheater’s Trojan Women (Vienna, 2022) and Nosferatu (Vienna, 2023), all directed by Adena Jacobs.
Melanie won the prestigious Keir Choreographic Award in 2018 and the 2017 Leipziger Bewegungskunstpreis in Germany, and has been nominated for both Green Room and Helpmann awards as both a choreographer and a dancer including the Shirley McKechnie Award for Choreography (2020).
Melanie is 2023/24 Choreographer in Residence at Chunky Move, Resident Artist at The Substation, 2015 Resident Director at Lucy Guerin Inc., Associate Artist at QL2, is a current 2023/24 Creative Australia Fellow and 24/25 Sidney Myer Fellow.
Love Lock is a work that I began dreaming about during my travels, listening to music on my headphones, getting swept up by a medley of lyrics and sound conjured by love songs from both past and present. I was fascinated by the mantra of love in songs that exists across our social fabric, a constant echo/reminder of what brings us together, connects and binds us.
It has been a joy creating Love Lock with the artists of Sydney Dance Company and with long time collaborators Clark (music), Akira Isogawa (costume) and Damien Cooper (set and lighting).
The invitation to work with the entire ensemble of artists is always an exciting opportunity that offers so much potential to harness the powerful energy of a larger group of dancers. It made me think a lot about social dances, folk dances and community dances that celebrate what it means to connect with each other through our bodies and essentially what it means to be human.
My work often creates fictional worlds to speak about our realities, so Love Lock draws from these ideas and imagines a kind of fantastical folk dance of the future, a dance that summons a collective energy and that dreams into the complex and often giddy realms of love. In an accelerated era where we navigate love both in person and in the digital space, the experience of love can be both intense and slippery. We can often find ourselves alone in a world that is saturated with the aspirations of romance, without the means to truly connect. Through the deconstruction of love songs, the most shared and prolific theme of global pop music, these iconic and catchy riffs are what embed Love Lock with its engine for connection and collective dreaming, and that insists on a dance that celebrates our hearts.
Since 2001, Clark has sculpted sound into a myriad of diverse forms. His two decades at Warp Records witnessed irradiated and ecstatic experiments in electronica, techno and rave, with equally colourful adventures in ambient, classical scores and cathartic lyrics for Deutsche Grammophon and his own Throttle Records. From St Albans, UK origins with frost encrusted vignettes on Clarence Park to unleashing kaleidoscopic live sets on the world stage, there’s neither a dull nor expected moment in the immersive musical universe Clark has constructed so far.
But how does one even shift from, say, folk-driven sound collage on albums like Iradelphic to intense, malleable jungle tracks in live shows? Clark’s leaps from crushingly industrial to subtly acoustic are framed by his wide-reaching influences and no limits approach to crafting such intricate soundscapes. Each album contains a unique thumbprint and dedicated exploration of a certain palette, manifested in flourishing melody, shimmering analog and digital texture, reshaped found sound and playful timbres created from scratch.
Twenty years on from his debut, Clark still has a voracious desire to challenge himself: his vocals are foregrounded on 2023’s Thom Yorke mentored Sus Dog, yet another elastic instrument in his repertoire. Whether learning drums for organic, eviscerating percussion on Body Riddle, or voicing his refreshingly singular songwriting on Sus Dog, Clark underlines the physicality of his everchanging sound.
A note from the Composer Melanie and I started talking about the score for Love Lock around five months ago - it’s since gone through many iterations. Although it’s not 310 bpm and composed with trance synths, that was the initial idea. It’s ended up in quite a different place - an ever mutating, at times dense collage of
recorded percussion/cello/synthesisers/ voices/flutes.
I like working on dance scores with Melanie, as you get to do things you would never normally consider for a solo record or a film score. Her choreography always surprises me. In Love Lock it reaches quite an ecstatic high. I wanted the music to reflect that.
I burrowed into a kind of controlled mania, exploring unusual microtonal shifts with what I hear as hooky ear worms, twists and turns. It’s been great being strict with the 20 minutes duration. I haven’t realised this until writing about it, but my self-pep talk has basically been ‘fill that 20-minute canvas with mad sounds but keep it coherent, with enough movement and pathos to keep it engaging’.
My work with Mel is always led by intuition, we get all the conceptual stuff out of the way early on and it soon becomes ‘does this feel right?’ If it does, I don’t tend to question it.
Thrilled to be returning to the stage with Melanie and Chris. Also Akira who I first worked with at Sydney Dance Company in 1999 on Air and Other Invisible Forces.
The set and lighting design for Love Lock creates a future tense space. Electronic signals connect, communicate. The lights penetrate the dance space, communicating with the other lights, interacting with the dancers. Pods of energy, incubating the next generation of future folk dance. Enjoy!
Akira Isogawa is one of Australia’s most celebrated and critically acclaimed designers.
Born in Kyoto Japan, Akira moved to Sydney in 1986 studying fashion design at the Sydney Institute of Technology.
Akira is renowned for his contemporary aesthetic, drawing inspiration from traditional Japanese design.
Debuting in 1996 at Australian Fashion Week Akira continues to present his collections to international embrace.
Akira’s powerful creative force has seen him collaborate across multiple platforms including designing costumes for the Australian Ballet and Sydney Dance Company and designing for Blunt Umbrellas and Designer Rugs, to name a few.
Akira’s work has been exhibited in institutions and galleries worldwide including the NGV, MAAS, V&A Museum London and Kimono: Kyoto to Catwalk.
Costumes sketches.
Lucy Angel
Born and raised in Wollongong, NSW, Lucy began her training at Joanne Grace School of Dance at age eight before completing her Certificate IV in dance at the Royal Academy of Dance at age 15. Lucy joined The Sarasota Ballet in Florida, USA as a trainee for their 2018-2019 season. At the end of 2019, she performed in The International Divertissement Ballet Gala with Projection Dance, as well as being a finalist in The Brisbane International Contemporary Dance Prix. Lucy joined Sydney Dance Company’s Pre-Professional Year in 2021 where she performed works by James Bachelor, Cloe Fournier, Stephanie Lake and Rafael Bonachela. Lucy commenced her traineeship with Sydney Dance Company at the end of 2022, premiering with the Company in Rafael Bonachela’s ab [intra] at DanceX.
Finn Armstrong
Finn was born and raised on the Gold Coast, Queensland, starting his dance journey at 14. At 17 Finn moved to full-time practice at the Amanda Bollinger Dance Academy, completing a Certificate IV in Dance. During this time, he also danced in the Youth Ensemble of Australasian Dance Collective for two years. Aged 18 Finn moved to The Netherlands to study at Codarts Rotterdam. He spent two years at the university training and performing works by Cayetano Soto, Ton Simons, Evelien Jansen, and was part of the Talent on The Move Tour, where students travelled around the Netherlands. Through Codarts, Finn apprenticed at Danish Dance Theatre, led by Marina Mascarell. He spent the 2024/2025 season performing works by Marina Mascarell, Adam Linder, Renan Martins, and Fernando Melo and toured with the company around Denmark and Europe. He graduated from Codarts with a Bachelor of Fine Arts. Finn joined Sydney Dance Company in 2025, debuting in Continuum.
Mathilda Ballantyne
Mathilda is an Australian-Chinese artist from Melbourne/Naarm, whose movement blends classical ballet with contemporary dance. A graduate of the Australian Ballet School, they received the Graeme Murphy Award for Excellence in Contemporary Dance. After completing a Graduate Diploma in Classical Ballet, Mathilda shifted focus to contemporary dance, joining PROJECTion Dance Company in 2020. In 2022, they became a core member of Scimm. Dance Company, performing in works such as Paracosm and Mechorstra. In 2024, they collaborated with emerging choreographers Vourneen Ni’cainin and Ronan Armstrong for Lucy Guerin’s Out of Bounds seasons. In 2025, Mathilda joined Sydney Dance Company, debuting in Rafael Bonachela’s Somos and continuing to explore new artistic boundaries.
From the US, Timmy completed his early training in contemporary performance and choreography at Artistic Fusion in Thornton, Colorado and Dance Town in Miami, Florida, performing works by Loni Landon, Dana Foglia and Emma Portner. He continued at the prestigious University of Southern California’s Glorya Kaufman School of Dance, where he performed works by William Forsythe, Jiří Kylián, Merce Cunningham and Yin Yue. Timmy premiered his choreography at Dance Town Miami’s annual contemporary gala 2021 and debuted Intergenerational Traffic at the Trinity Laban School of Dance in London in 2023 in collaboration with composer Tom Bradbury and dancer Xavier Williams. Timmy performed with the Nederland’s Dans Theatre Summer Intensive in 2023 before moving to Australia for his debut with Sydney Dance Company, performing in New Breed.
With a Turkish background and born in Sydney, Mali has been dancing for as long as he can remember. He began formal dance lessons at the age of ten, outside of school hours as well as attending Newtown High School of the Performing Arts. After graduating in Year 12, he pursued full-time training at New Zealand School of Dance (NZSD). In those two years, Mali was invited to be a guest dancer, performing soloist roles with the Royal New Zealand Ballet Company in their 2016 season of Wizard of Oz and their 2017 triple bill Three By Ekman. After graduating from NZSD, Mali joined Queensland Ballet Company, performing various soloist and principal roles from 2018 – 2024. Mali joined Sydney Dance Company in 2025.
Born and raised on Gadigal Land, Mohamad ‘Ali’ Dib, of Lebanese heritage, began dance training at age eight, attending Dorothy Cowie School of Dance and Brent Street Studios. Ali continued his passion for contemporary and classical performance, advancing his training at Algeria Studios under the mentorship and guidance of Hilary Kaplan and Archibald Mackenzie. In 2024 Ali won the Brisbane International Contemporary Dance Prix and in 2025 the Contemporary Dance Open. Through his multidisciplinary training, Ali studied at Newtown High School of the Performing Arts and will complete his HSC in 2025. He has performed in works by Holly Doyle, Chloe Leong, Victor Zarallo, Davide Di Giovanni and other notable choreographers.He now looks forward to embarking on his professional dance career with Sydney Dance Company, debuting in Continuum
Having grown up in Perth, Liam trained with a range of local schools, including Dynamic Performing Arts and The Graduate College of Dance. At 15, Liam was accepted into the Advanced Diploma of Dance at WAAPA, the youngest person to enter the program. Liam worked with the West Australian Ballet for five years, ending his time at the company as a Demi-Soloist, before joining Sydney Dance Company in 2019. Liam’s repertoire is expansive and diverse, including works such as Radio and Juliet by Edward Clug, In Transit by Annabelle Lopez Ochoa, and Les Indomptes by Claude Brumachon. These are just but a few Liam is proud to have featured in. In his spare time Liam studies a Bachelor of Commerce, majoring in Finance and Economics at The University of Western Australia.
Sonrisa attended Denver School of the Arts before earning a merit scholarship to attend Boston Conservatory, where she performed works by Aszure Barton, Bill T. Jones, Andrew Skeels and more. Sonrisa has participated in international intensives, including those at Arts Umbrella, The Juilliard School, Complexions Contemporary Ballet, Dart Dance Company and Orsolina 28. She studied the repertoire of choreographers Crystal Pite, Sharon Eyal, Ohad Naharin, Jiri Pokorny, Jiri Kylian and more. She also performed in a guest artist performance at the Young Choreographers Festival in 2024. Sonrisa joined Sydney Dance Company in 2025 and makes her debut with the Company in Somos.
Morgan Hurrell
Born in Mudgee, NSW, Morgan began dancing aged two, studying at Dance Unlimited. At 17 her contemporary dance passion led to multiple offers for full-time placements, and she completed her Diploma of Dance at the National College of Dance in Newcastle. In 2021 Morgan moved to Sydney to undertake an Advanced Diploma of Dance with Sydney Dance Company’s PreProfessional Year, after which she was offered a Trainee contract with the Company. Morgan has performed work internationally and nationally by renowned choreographers including Rafael Bonachela, Ohad Naharin, Antony Hamilton, Melanie Lane, and Stephanie Lake. She has performed works such as Decadance, ab [intra], Impermanence, momenta, Forever & Ever, Love Lock, The Universe is Here, and I Am-Ness. Morgan has performed with global brands such as Cartier, extending her artistry into the commercial industries.
Born in Aotearoa/New Zealand, Ngaere is of Te Arawa and Ngāti Kahungunu descent. She trained at the New Zealand School of Dance, graduating in 2018, working with James O’Hara, Victoria (Tor) Colombus, Taiaroa Royal and Tanemahuta Gray. She performed works by Damien Jalet, Huang Yi, Sarah FosterSproull, Malia Johnston and Gabby Thomas. Ngaere represented the school in Tahiti at the Académie de Danse Annie FAYN fifth International Dance Festival and Singapore Ballet Academy’s 60th Anniversary Gala. From 2019 to 2023 Ngaere worked with The New Zealand Dance Company performing in works from Sean MacDonald, Nina Nawalowalo, Tom McCrory and Ross McCormack, Jo Lloyd, Stephanie Lake, Kim Jae Duk, Tor Colombus, Eddie Elliott and Xin Ji and Tupua Tigafua, as well as
Mana Wahine by Ōkāreka Dance Company, working with Atamira Dance Company. In 2023 Ngaere was the recipient of the Bill Sheats Dance Award. Ngaere joined Sydney Dance Company in 2023, debuting in the tenth anniversary season of New Breed
Sophie Jones
Sophie grew up in Angourie, NSW and trained with Adele Lewis School of Dance. At age 14 she moved to Burleigh Heads, Queensland to begin full-time ballet training and further her studies with Prudence Bowen Atelier. She received a traineeship with the Joffrey Ballet in Chicago. Whilst in Chicago she worked with numerous choreographers and performed Études by Harald Lander, and George Balanchine’s Serenade. After discovering an interest in contemporary dance, Sophie completed her diploma and advanced diploma with Sydney Dance Company PreProfessional Year in 2020 and 2021. She had the opportunity to perform works by Holly Doyle, Omer Backley-Astrachan, Jessica Goodfellow and Rafael Bonchela. Sophie joined Sydney Dance Company as a trainee in January 2022, supported by the David and Fee Hancock Foundation.
Naiara was born in Salvador, Brazil. In 2007 she began full time training with the Bolshoi Ballet School in Joinville (Brazil). Following her graduation in 2011, Naiara began working in the Young Company of Bolshoi Ballet Brazil until she was offered a position with the Salzburg Landestheater in 2013. Throughout her career Naiara has joined companies such as Leipzig Ballet, Konzert Theater Bern, Augsburg Ballet and Dance Company St Gallen. She has performed classical and modern repertoire including a number of soloist and principal roles, both in Europe and further abroad. Naiara has worked with internationally renowned choreographers such as Ohad Naharin, Johan Inger, Uwe Scholz, Nadav Zelner, Martin Zimmermann, Dimo Milev, Alba Castillo, Giovanni Insaudo, Mauro Astolfi, Francesca Frassinelli and more. She joined Sydney Dance Company in 2023.
Ryan Pearson
Ryan is of Biripi and Worimi descent on his mother’s side and Minang, Goreng and Balardung on his father’s side. From Taree, NSW, he began his dance training at NAISDA at age 16, after taking part in the NSW Public Schools’ Aboriginal Dance Company, facilitated by Bangarra’s Youth Program Team in 2012. At NAISDA, Ryan learnt from a number of renowned teachers and choreographers, attending a Professional Division Summer Intensive at the Alvin Ailey American Dance Theatre in New York City. He joined Bangarra Dance Theatre in 2017, debuting in Bennelong, performing for seven years through Australia and internationally, led by renowned storytellers Stephen Page and Frances Rings. Ryan was nominated in the 2020 Australian Dance Awards for Most Outstanding Performance by a Male Dancer for his performance in Jiri Kylian’s Stamping Ground. In 2023, Ryan presented his first choreographic work, 5 Minute Call as part of Dance Clan. He joined Sydney Dance Company in 2024.
Eka Perunicic
Eka is a dancer whose journey is shaped by her Indian and Italian roots and her upbringing in Melbourne, Australia. Eka trained at the National Theatre Ballet School and specialises in classical ballet and contemporary dance. Her professional career includes performing with West Australian Ballet, Ballet Cymru, and Kamea Dance Company (soloist) and collaborating with renowned international choreographers. Eka is also a certified Pilates instructor and through her passion for movement and wellness, seeks to inspire others and elevate the art of dance. Eka joined Sydney Dance Company in 2025.
Amelia Russell
Born in Sydney, Australia, Milly began her dance journey at a young age, studying various dance genres before focusing on ballet. She earned a scholarship to McDonald College, where she combined academics with ballet training. During her time at the college, she performed principle roles including Lilac Fairy and Giselle. In her final years, she developed a passion for contemporary dance through electives with Sydney Dance Company. After graduating, she joined Sydney Dance Company’s Pre-Professional program, exploring contemporary dance under esteemed choreographers. Milly has created and performed works by notable artists including Rafael Bonachela, Charmene Yap, Francis Rings, Prue lang, Miranda Wheen, Melissa Thorogood and Lisa Marie McDonald. As the Sydney Dance Company 2025 trainee, she is excited to continue her career as a professional contemporary dancer.
Piran Scott
Born in Mackay, QLD, Piran trained under Lynette Denny AM at Theatre Arts Mackay. He completed the Professional Year program with the Queensland Ballet, joining the company as a full member in 2010, under the artistic direction of Francois Klaus. In 2013, Piran received a soloist position with the Leipzig Ballet in Germany under Mario Schroeder. Piran was a soloist with the Ballet Theater Basel in Switzerland, directed by Richard Wherlock, followed by successful seasons with the Dance Company St. Gallen under Kinsun Chan, awarded Dancer of the Year 2022 in tanz magazine Europe. Piran has performed in classical and contemporary works by renowned choreographers such as Ohad Naharin, Alexander Ekman, Sharon Eyal, Johann Inger, Ivan Perez, Nils Christie, Thierry Malandain, Natalie Weir, Dimo Milev, Uwe Scholz, Mauro Astolfi, Francesca Frassinelli, Nadav Zelner, Martin Zimmerman and Alba Castillo. Piran joined Sydney Dance Company in 2023.
Sam Winkler
Sam decided to pursue a career in dance during his time at the Victorian Collage of the Arts Secondary School. This aspiration led to him competing in the Prix de Lausanne, the world’s biggest ballet competition. His performance in the competition awarded him a scholarship to the Hamburg Ballet School where he completed his dance training. He worked with the Hamburg Ballet during his time in the school but found his first full-time work in Tanzcompany Innsbruck under Enrique Gasa Valga. Sam worked in the company as a soloist for two years, performing a variety of works. Concluding these two years, he moved home to Australia to be closer to family, delighted to be working closer to the people he loves. Sam joined Sydney Dance Company in 2025.
Richard Cilli combines his expertise as a dancer with his passion for coaching, culture and excellence as Sydney Dance Company’s Rehearsal Director. In this role he enjoys holding space for many talented and dedicated artists at the top of their game to keep developing their craft. As a dancer Richard won the prestigious Helpmann Award for Best Male Dancer in 2010 for his performance in Rafael Bonachela’s We Unfold, and was also the winner of the Australian Ballet’s 50th Anniversary Ballet Competition in 2012.
Throughout his performing career, Richard has interpreted the work of an impressive array of choreographers, including Rafael Bonachela, Lloyd Newson, Stephanie Lake, William Forsythe, Anouk van Dijk, Jacopo Godani, Lucy Guerin, Gideon Obarzanek, Alexander Ekman, Adam Linder, Emanuel Gat and Kenneth Kvarnström. Beyond his years as a dancer at Sydney Dance Company, Richard has performed with renowned companies such as Rambert (UK), Chunky Move, Lucy Guerin Inc, Australasian Dance Collective, Dancenorth, and K.Kvarnström & Co (Sweden).
Born on Whadjuk Noongar country (Perth), Richard trained at the Western Australia Academy of Performing Arts (WAAPA) and Taipei National University of the Arts (國立臺北藝術大學). He also studied Arts and Cultural Management at Deakin University. As a choreographer he has created work for Sydney Dance Company and the PreProfessional Year, The Australian Ballet, LINK Dance Company and WAAPA, as well as various independently produced works.
A certified Countertechnique teacher, Richard has taught at institutions around Australia and the world, including the One Body, One Career intensive in at Springboard Dance Montreal.
Mia Thompson draws on over a decade of stage experience to nurture and support professional dancers in their artistic development.
Mia finished her performance career in April 2025 with Somos by Rafael Bonachela, closing a dynamic chapter with Sydney Dance Company. She has since transitioned into her role as Rehearsal Associate with determination to bring light, support, and growth to the next generation of performers.
As a dancer, Mia built a career across both ballet and contemporary dance with Sydney Dance Company, Scottish Ballet, Queensland Ballet, and West Australian Ballet. While still a student, she guested with West Australian Ballet before joining Queensland Ballet in 2013, where she performed works by Kenneth MacMillan and Peter Schaufuss, with highlights including appearances at London’s Coliseum and Houston’s Dance Salad Festival. In 2016, she joined Scottish Ballet, where she was promoted to First Artist and performed principal roles in Peter Darrell’s The Nutcracker and works by MacMillan and Crystal Pite, including Le Baiser de la Fée at the Royal Opera House in collaboration with The Royal Ballet and Birmingham Royal Ballet.
Since 2019, Mia performed with Sydney Dance Company in works by Rafael Bonachela, Gabrielle Nankivell, Stephanie Lake, Melanie Lane, Gideon Obarzanek, and Ohad Naharin, with highlights including ab [intra] at Théâtre National de la Danse Chaillot in Paris.
Mia’s time at Sydney Dance Company brought her the most growth as both an individual and an artist, allowing her to evolve into a diverse, confident, and resilient performer. She now hopes to share that knowledge and experience in support of other artists in the industry.
Board of Directors
Emma-Jane Newton (Chair)
Larissa Behrendt AO
Jillian Broadbent AC
Michael Dagostino
David Friedlander
Emma Gray
Andrew Hagger
Alexa Haslingden
Mark Hassell
Sandra McCullagh
Bianca Spender
International Patron
Dame Darcey Bussell DBE
Founding Patron
Dancers’ Circle
Julian Knights AO
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 PenfoldRussell OAM, Peter Reeve. Ruth Ritchie. Keinwen Shephard, Stephen Thatcher, Bee Wood, Adam Worling, Susan Wynne, Mary Zuber.
Artistic Director
Rafael Bonachela
Executive Director
Lou Oppenheim
Executive Assistant
Amy Burrows
Director, Producing
Katy Green Loughrey
Senior Producer
Dominic Chang
Associate Producer - Ensemble
Kerry Thampapillai
Associate Producer - Wharf
Michael Sieders
Director Finance and Administration
Kate Di Mattina
Accountant
Melissa Sim
Payroll Assistant
Carina Mision
Director Training and Education
Polly Brett
Head of Open Programs & Learning
Samantha Dashwood
Dance Class Manager
Ramon Monteverde Doringo
Learning Manager
Justine Ocampo
Learning Coordinator
Jacqueline Cooper
Learning Administrator
Eugenie English
Head of Training
Linda Gamblin
Training Associate
Juliette Barton (Maternity Leave)
Madeline Harms
Learning Associate
Lexy Panetta
Pre-Professional Year Course Coordinator
Tobiah Booth-Remmers
Conditioning Studio Manager
Felicity McGee
Customer Experience and Venue Manager
Sue Neilsen
Customer Service Assistant
Ellie Cevik
Director Philanthropy and Partnerships
Fiona Crockett
Head of Philanthropy
Katharine Seymour
Philanthropy Manager
Lachlan Bell
Trusts and Foundations Manager
Madeleine White
Philanthropy Coordinator
Bianca Mulet
Director Market Development
Olivia Blackburn
Marketing Manager
Kylie Boyd
Digital Marketing Specialist
Rebecca Nash
Marketing and Communications
Coordinators
Gabriella Lay
Rohan Furnell
Head of CRM and Business Intelligence
Thida Kyaw
Ticketing Specialist
John Calvi
Technical Director
Guy Harding
Company and Resident Stage Manager
Simon Turner
Production Manager
Shane Placentino
Production Coordinator
Tony McCoy
Sound Operator
Jem Hoppe
Head of Wardrobe
Mary-Ellen Baxter
Costumer
Nicole Artsetos
Rehearsal Director Richard Cilli
Rehearsal Associate Charmene Yap (Maternity Leave)
Mia Thompson
Balnaves Foundation Artist in Residence
Raghav Handa
Dancers
Lucy Angel
Finn Armstrong
Mathilda Ballantyne
Timmy Blankenship
Mali Comlekci Ali Dib Liam Green
Sonrisa Hubbard
Morgan Hurrell
Ngaere Jenkins
Sophie Jones
Naiara de Matos
Ryan Pearson
Eka Perunicic
Piran Scott
Sam Winkler
Trainee
Amelia Russell
Head Physiotherapist
Ashlea-Mary Cohen
Company Doctor Dr. Michael Berger
Sports Doctor
Dr. James Lawrence
Company Teachers
Emily Amisano, Anton, Lee Brummer, Joshua Consandine, Rachel Coulson, Tra Mi Dinh, Holly Doyle, Cathie Goss, Madeline Harms, Sue Healey, Samantha Hines, Paul Knobloch, Jenni Large, Chloe Leong, Rikki Mason, Yui Masukawa, Iohna Mercer, Rhiannon Newton, Marnie Palomares, Jasmin Sheppard, Chimene SteelePrior, Jessica Thompson, Annabel tom Dieck, Kimball Wong, Victor Zarallo, Zee Zunnur
4/5
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