Jean Stewart 1921-2017

Jean Stewart (1921–2017)

Jean Stewart, esteemed dance photographer, has died in Melbourne aged 95. Jean was a radiographer by profession but had studied photography at RMIT. Ballet was her passion and she created an amazing archive of photographs of Australian companies in the 1940s and 1950s, especially of the Borovansky Ballet and Laurel Martyn’s Ballet Guild. She also photographed Ballet Rambert during its

‘Blue Love.’ Shaun Parker & Lucia Mastrantone

17 August 2017. Playhouse, Canberra Theatre Centre I have to admit to being curious as to what Blue Love would be like. The last time I saw Shaun Parker he was a dancer with Meryl Tankard Australian Dance Theatre and, for a whole variety of reasons, I had not seen the works he had performed in or made after leaving the company

‘The search for identity. Australian dance in the 1950s’

In March 2017 I was a speaker at the first BOLD Festival, an event directed by Liz Lea and held in Canberra. It set out to examine dance heritage in Australia. The paper I presented at the National Film and Sound Archive, The search for identity. Australian dance in the 1950s, had a narrow focus, despite its title. I made

‘La Fille mal gardée.’ Queensland Ballet

9 August 2017. Playhouse, Queensland Performing Arts Centre It is always refreshing to see a different version of a well-known work. And so it was with Queensland Ballet’s La Fille mal gardée. The version that is well-known to many Australian dance-goers is by Frederick Ashton, which Ashton made for the Royal Ballet in 1960, and which has been in the repertoire of

‘Blue Love.’ Shaun Parker & Company

Recently I spoke to Shaun Parker about his work Blue Love, which will have a short season at the Canberra Theatre Centre later in August. I was somewhat taken aback (to put it mildly) when I saw the byline for the article that appeared in the print version, and its digital copy, of the The Canberra Times (Panorama) this morning (Saturday 5 August

Badu Gili (Water Light), sydney Opera House, 2017. Photo: Michelle Potter

Dance diary. July 2017

Badu Gili (Water Light) As part of NAIDOC Week 2017, and launched the night before the world premiere of Bangarra Dance Theatre’s latest production Bennelong, the eastern side of the ‘Bennelong Sail’ of the Sydney Opera House was lit at specified times during the evening by a series of stunning projections of indigenous design. Curated by Rhoda Roberts and featuring the

'This Poiosned Sea.' Quantume Leap, 2017. Photo: Lorna Sim

‘This Poisoned Sea.’ Quantum Leap

27 July 2017, Playhouse, Canberra Theatre Centre This Poisoned Sea, Quantum Leap’s major show for 2017, took as ‘a launchpad’ (as the media says) Samuel Taylor Coleridge’s epic poem The Rime of the Ancient Mariner. Three choreographers, Claudia Alessi, Eliza Sanders and Jack Ziesing, presented separate sections, which were woven together into an evening length production, without interval, by artistic director

‘The Winter’s Tale.’ The Royal Ballet in Australia

6 July 2017 (matinee and evening), Lyric Theatre, Queensland Performing Arts Centre, Brisbane There is much to admire about The Winter’s Tale, Christopher Wheeldon’s balletic translation of William Shakespeare’s play of the same name. For a start, the mood is often absolutely gripping—often in an ‘edge of the seat’ manner. It is also just brilliantly performed by artists of the

Bryan Lawrence (1936–2017)

Bryan Lawrence, who has died in his 81st year, was born Brian Lawrence Palethorpe in Birmingham, England. He began his dance training at an early age in regional schools in England and then trained, on scholarship, at the Sadler’s Wells Ballet School (later the Royal Ballet School) from the age of thirteen. After moving into the senior school he began

Beatriz Stix-Brunell, Alessandra Ferri and Francesca Hayward in 'Woolf Works' Act I. The Royal Ballet, Brisbane 2017. Photo: © Darren Thomas

‘Woolf Works.’ The Royal Ballet in Australia

30 June 2017, Lyric Theatre, Queensland Performing Arts Centre, Brisbane What a pleasure it was to see Wayne McGregor’s Woolf Works again, and to have one’s first impression strengthened. Woolf Works remains for me one of those exceptional works that reveals new insights with every new viewing. In Brisbane, as part of the program by the Royal Ballet on its visit to