Dance diary. September 2016

  • Degas. A new vision

In September I had the pleasure of visiting the National Gallery of Victoria’s recent exhibition of works by Edgar Degas, entitled Degas. A new vision. I enjoyed discovering his non-dance paintings and drawings, in particular those that gave an insight into his family and social life. But I especially enjoyed some of his lesser known (to me anyway) dance works, including the two below: Little girl practising at the barre (1878–1880), although it is a shame about the turn-out being forced onto that little body, and Russian dancer (1985).

Degas. Petit rat
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  • Australian Dance Awards 2016

The 2016 Australian Dance Awards were held in Perth in September and list of awardees is on the Australian Dance Awards website.

Elma Kris in 'Sheoak'. Banggara Dance Theatre, 2015. Photo: © Edward Mulvihill

Elma Kris, winner of ‘Outstanding Performance by a Female Dancer’ at the 2016 Australian Dance Awards seen here in Sheoak from the Bangarra Dance Theatre program lore, 2015. Photo: © Edward Mulvihill

  • National Portrait Gallery: coming soon

The National Portrait Gallery in Canberra continues to offer short dance events as part of its public programs with Dances for David scheduled for October and a work by James Batchelor coming in early November.

Dances for David—four dances reflecting moments in the career of David McAllister, artistic director of the Australian Ballet—will be performed by Anca Frankenhaeuser, Patrick Harding-Irmer, Julia Cotton and Elle Cahill.  Each work is inspired by a photographic image of McAllister. Dances for David takes place on 15-16 October and 29-30 October.

In November James Batchelor will present Smooth Translation, a commission from the Portrait Gallery, which is being advertised as ‘an ode to Barbara Hepworth’. Batchelor’s works are often about process of some kind and Smooth Translation purports to be concerned with the process of sculpting a landscape. Intriguing? But then all Batchelor’s works are. Smooth Translation is on 5–6 November.

Check the National Portrait Gallery website for more details.

  • The Australian Ballet in 2017

The Australian Ballet, the national ballet company, once again will not be visiting Canberra, the national capital, in 2017!

  • Press for September 2016

‘Blood ties.’ A look at the career of Bangarra dance Luke Currie-Richardson as Bangarra heads to New York and Paris. The Canberra TimesPanorama, 17 September 2016, pp. 8–9. Online version.

‘Circa attains right balance.’ Review of Carnival of the Animals. The Canberra Times, 19 September 2016, ARTS p. 34. Online version.

Michelle Potter, 30 September 2016

Featured image: Theatre box (La loge) detail, 1880

Degas box

Elizabeth Dalman in the Silk Moth 2014. Photo Barbie Robinson

Dance diary. August 2016

  • Elizabeth Dalman

When I interviewed Elizabeth Dalman in July for the National Library of Australia’s oral history program she told me, off the record, of a potential performing opportunity that she hoped might come her way. Well, the potential opportunity is now a reality and Dalman is currently in Ireland rehearsing for the role of the Mother in a new Irish production based on the story of Swan Lake. This Swan Lake is being created by Michael Keegan-Dolan, former director of Fabulous Beast Dance Theatre, which closed down in 2014. Keegan-Dolan’s present company has the name MKD Dance.

The opportunity came via a casting call on Keegan-Dolan’s Facebook page for ‘a woman aged between … 60 and 70.’ The notice went on: ‘The Mother needs a powerful presence and ideally she should have long white hair.’ Dalman is now in her eighties so didn’t fit exactly into the age range. But she certainly has presence and long white hair. She got the role.

This Swan Lake, danced to an original score based on traditional Irish and Nordic folk music played live on fiddle, nyckelharpa, cello, voice and percussion, will premiere as part of the 2016 Dublin Theatre Festival. Its Dublin season will be from 28 September to 8 October, after which it goes to Aarhus in Denmark and then to Sadler’s Wells, London, with 2017 seasons planned for Stuttgart and Luxembourg with other venues in the planning stage.

  • News from James Batchelor

James Batchelor is currently working at Tasdance in Launceston on Deepspace, a production emerging from his expedition to Antarctica on board the RV Investigator earlier this year. His Tasdance residency is supported by the Australia Council and is being conducted in conjunction with visual artist Annalise Rees (also part of the Investigator expedition), performer Amber McCartney and sound artist Morgan Hickinbotham. Later this year there will be another development at Arts House in Melbourne as part of the CultureLAB program. The work is set to premiere in 2017.

Read my previous post on the Investigator expedition here. Footage of Batchelor’s work on board the Investigator is below.

 

  • Joseph Skelton, Royal New Zealand Ballet

Having had the pleasure of seeing Royal New Zealand Ballet in performance recently, I was interested to learn that RNZB dancer Joseph Skelton will be appearing as guest artist with the Australian Ballet shortly. He will dance the leading role of Albrecht in a New South Wales regional tour of Giselle. ‘The Regional Tour’ appears to be a new name for the Dancers Company, which name seems to have quietly left the vocabulary of the Australian Ballet. The Australian Ballet website notes that this production will feature ‘artists from The Australian Ballet and graduating students from The Australian Ballet School.’

Whatever is behind the mysterious name change, Joseph Skelton’s performances will be worth watching. In Wellington earlier this month, I admired his performances in the Stiefel/Kobborg production of Giselle. I saw him in the peasant pas de deux (with Bronte Kelly), and as the Older Albrecht (a character unique to the Stiefel/Kobborg production), where his quiet but commanding presence was impressive.

Joseph Skelton in Giselle rehearsals. Royal New Zealand Ballet. Photo Stephen A'Court

Joseph Skelton in rehearsal for the Ethan Stiefel/Johan Kobborg production of Giselle. Royal New Zealand Ballet. Photo: © Stephen A’Court

  • On the subject of musicals …

For those who love musicals with lots of dance, a new production of Mamma Mia will be part of the 2017 Australian musical theatre scene. The Canberra Theatre Centre has just announced that the Australian premiere of the new production will be in Canberra in November 2017 ahead of performances in other Australian cities. No details yet of cast or creatives (who will be the choreographer?). More information when it becomes available.

  • Press for August 2016

‘Strings attached.’ Preview of the debut performance by the Australian Dance Party. The Canberra TimesPanorama, 13 August 2016, p. 15. Online version.

Michelle Potter, 31 August 2016

Featured image: Elizabeth Dalman in The Silk Moth, 2014. Photo: © Barbie Robinson

Elizabeth Dalman in the Silk Moth 2014. Photo Barbie Robinson

Djakapurra Munyarryun Ochres 2015 Photo by Jhuny-Boy Borja

Djakapurra Munyarryun. Bangarra Dance Theatre

In late September and early October Bangarra Dance Theatre will be performing in New York and Paris. In New York the company will be part of Fall for Dance, a wonderful initiative that has been held in October, when the leaves of the city’s deciduous trees are falling to the ground, for about 10 years now. All seats are just $15 and the program features dancers and dance companies from America and around the world. Bangarra will present Spirit, a selection from some of the company’s best-known works. That selection will include Djakapurra Munyarryun’s Ngurrtja—land cleansing song, which opened the 2015 reworking of the 1995 production, Ochres.

In Paris Bangarra will give five performances of the new Ochres at the Musée du quai Branly—Jacques Chirac, a museum devoted to ethnographic material from around the world. The company has a one week residency at the museum and the residency will include, in addition to Ochres, workshops, public talks and screenings of Stephen Page’s film Spear.

The role that Djakapurra Munyarryun will play in Ochres on this tour is not quite the same as his role in the original production, when in the opening moments he was seen smearing his body with yellow ochre. It was an unforgettable theatrical moment.

Djakapurra Munyarryun in Ochres, Bangarra Dance Theatre 1995. Photo Tim Webster

Djakapurra Munyarryun in Ochres, Bangarra Dance Theatre 1995. Photo: © Tim Webster
National Library of Australia

The recollection of that opening sent me hunting for a Canberra Times article I wrote in 1998 as a preview to Bangarra’s season of Fish. As the story was published in print form only, that is some years before The Canberra Times was available online, I am republishing it here (in a slightly refined form) for the background it gives to the work of Djakapurra Munyarryun.

‘Cultural designer steeped in tradition.’
Michelle Potter

When Bangarra Dance Theatre’s production of Fish opens next week at the brand new Playhouse, Canberra Theatre Centre, one performer is sure to stand out: Djakapurra Munyarryun. He has that elusive quality—stage presence. So strong is the sense of wisdom and authority that pervades his activities onstage it’s hard to believe he’s only 23. Artistic director of Bangarra and choreographer of Fish, Stephen Page, says, “It’s not surprising really. He’s part of the Dreaming.”

Munyarryun, steeped in the traditional dances and ceremonies of the Yirrkala community in north-eastern Arnhem Land, is Bangarra’s cultural consultant. For Fish he has also been designated “cultural designer” and takes his place alongside the other members of the creative team. Munyarryun’s contribution to the work of Bangarra is critical. It helps it achieve what is most distinctive about it: the fusion of traditional stories and music with the experiences of urban Aboriginal and Islander people.

“When he works with the company there is a constant sharing of ideas,” Page says. He is inspirational. Djakapurra helps build layers of Aboriginality in the company.”

Such layers are apparent in the thematic material in Fish. The works takes us on a journey to three watery worlds and celebrates the wealth of life and mystery they contain. Swamps is redolent of the sacredness and spirituality of traditional lifestyles; Traps juxtaposes contemporary Western and old Aboriginal ways; Reef, full of colour and light, is celebratory and refers especially to the dance styles of Torres Strait Islander communities.

For two, at least, of the Page brothers—choreographer/director Stephen, and musician David, who composed the score for Fish—the relationship with Munyarryun continues beyond the dance studio. The three enjoy a special relationship that allows them to explore the links between traditional and urban ways in a diversity of situations. Not only have they been adopted into each other’s families, but they also spend time in Yirrkala together often going out to catch stingrays. Stephen Page says:

“Of course the urban situation, where many of our stories were forbidden, was frustrating for Djakapurra at first. He had to learn a hard lesson about urban Aboriginal history. But he was always interested in the crossover of traditional and contemporary styles in both music and dance, and just kept returning to storytelling to rekindle the spirit. Now he is comfortable in both traditional and urban situations. This is the kind of fusion that is built into the infrastructure of Bangarra.”

Munyarryun has been with Bangarra since 1991, featuring in all its major productions including Praying Mantis Dreaming, Ninni, Ochres and, most recently Rites, the popular collaboration between Bangarra and the Australian Ballet staged for the Melbourne Festival last year.

As well as being a dynamic dancer, Munyarryun is a virtuoso didgeridoo player and in Fish, as well as dancing, he features as a musician on the soundtrack playing bilma and yirrdaki (clap sticks and didgeridoo). His versatility as a performer has also brought him roles in films, including Black River and Breaking Through, as well as work with the band Yothu Yindi.

Fish, now touring Australia as part of the 1998 Made to Move season, premiered at the Edinburgh International Festival last year before returning for a Sydney season in the Festival of the Dreaming, the first of the cultural festivals leading to the Sydney 2000 Olympic Games.

As well as highlighting the Bangarra approach to fusion, Fish has an extraordinary visual impact. Its evocative set is by Peter England; costumes are by Jennifer Irwin, who explores the qualities of texture and sheen; and lighting is by Mark Howett.

Djakapurra Munyarryun is the tall dancer, with presence and authority, who will probably come out after the show in jeans, a T-shirt and a baseball cap.

First published in The Canberra Times—Panorama, 18 April 1998, p. 16.

Michelle Potter, 26 August 2016

Featured image: Djakapurra Munyarryun in a scene from Ochres, 2015. Photo: ©  Jhuny-Boy Borja

Djakapurra Munyarryun Ochres 2015 Photo by Jhuny-Boy Borja

 

Terri Charlesworth. Photo Darren Clark

Terri Charlesworth. Lifetime Achievement Award

The Australian Dance Awards has just announced that the winner of the prestigious Lifetime Achievement Award for 2016 is Perth dance identity, Terri Charlesworth. The award will be presented at a ceremony in Perth on 18 September when recipients of awards in other categories will also be announced. The citation for Charlesworth is on the Ausdance National news page.

But while the citation covers the main aspects of Charlesworth’s long and much-admired career in dance, her qualities as a teacher are beautifully summed up by former Australian Ballet principal, Lisa Bolte. Charlesworth was a teacher at the Australian Ballet School between 1982 and 1986 and Bolte was one of her pupils during that period. In my biography of Dame Margaret Scott, Bolte recalls:

I always felt that Terri came at dancing from both a very technical and holistic approach to life and dance. She also worked on visualisation with everything, from finding, strengthening and relaxing certain muscles, to visualising rings on your fingers to attain a certain classical port de bras or to lengthen the arms. I worked closely with her for my graduation performance as the Sugar Plum Fairy in Robert Ray’s Nutcracker in 1985. We worked on technique, including port de brasépaulement, and very importantly on the musical phrasing. And Terri inspired me to attain the style by bringing books with pictures of lithographs I could study to attain the style. It was a complete inspiration.—Dame Maggie Scott. A life in dance (Melbourne: Text Publishing, 2014), pp. 235–236.

With many congratulations to Terri Charlesworth!

Michelle Potter, 25 August 2016

Featured image: Terri Charlesworth. Photo: © Darren Clark

Terri Charlesworth. Photo Darren Clark

Seeta Patel in Australia

British Indian dancer, Seeta Patel, specialises in the Bharata Natyam style of classical Indian dance and she will be in Canberra in August to work on two projects. The first is a workshop with Canberra Dance Theatre’s GOLDS, the second a one-off performance at Belconnen Arts Centre. When I spoke to her, however, she was in Mt Gambier, South Australia, working with choreographer Lina Limosani on yet another project. Prior to that she spent time a week of intensive work in Sydney with Liz Lea.

Patel worked with Lea on refining her Bharata Natyam technique. Bharata Natyam was a major part of Lea’s practice for many years before she came to Australia but, since arriving in Canberra in 2009, Lea has had little opportunity to work on this aspect of her practice. She has instead concentrated on community dance, including the successful establishment of the GOLDS, and on other areas of her practice, including works made as a result of historical research, such as 120 Birds, which took the travels of Anna Pavlova as its starting point. Patel has re-energised her and brought her back to her Bharata Natyam practice.

‘With recent changes in my career,’ Lea says, ‘I have wanted to return to my own practice and to the Bharata Natyam style. The sessions with Seeta reawakened my deep love for the form, and my deep respect. It is so very difficult and challenging, mentally and physically. Working with Seeta was also quite an adventure. At the end of each day I could scarcely walk!’

Lea also acknowledges Patel’s strengths as a performer at the cutting edge of the growth and development of Bharata Natyam as a contemporary art form for today’s audiences. Patel has worked with several British contemporary dance companies, including DV8 and David Hughes Dance, which she says taught her to use her performance skills in a different way.

‘It is challenging to develop the ability to move across forms and to engage in cross-cultural work,’ Patel says. ‘It is a reminder not to reduce Bharata Natyam to something simplistic, but to find what is inherent in it.’

Patel’s work at Mt Gambier with choreographer Lina Limosani, who works in a contemporary style and who, in 2015, was awarded the Peggy van Praagh Choreographic Fellowship, highlights Patel’s interest in cross-cultural, cross-form work.  Her three week residency in Mt Gambier, supported by Country Arts South Australia, saw Patel not only conducting workshops but also working with Limosani and dramaturg Dagmara Gieysztor on a new contemporary work Not Today’s Yesterday.

Now Patel is working on ways to secure funding to bring Limosani and Gieysztor to England to complete the work they have started and have it tour globally.

For India Meets, the one-off performance at Belconnen Arts Centre on 20 August, Patel will perform a small solo drawing on elements of Bharata Natyam technique. It will be a ‘short work’, athough she suggests that her interest lies in the ‘long form with live music’. Her post-forum discussion may well draw out more on this topic. Lea will also perform, along with several other Canberra-based dance artists. Lea says her work will be informed by her intensive work with Patel but it will not be purely traditional Bharata Natyam.

‘I will be exploring,’ Lea says, ‘a conversation between Einstein and Rabindranath Tagore that took place in 1930. It relates to my ongoing exploration of previous relations between East and West, and my new enquiries into science and astronomy.’

For more information on India Meets follow this link. Tickets at eventbrite.

Michelle Potter, 10 August 2016

Dance diary. July 2016

  • Focus on Canberra

A one-off show, India Meets, is scheduled to take place at Belconnen Arts Centre on 20 August. It will feature Seeta Patel and Liz Lea along with other local dancers trained in a variety of Indian dance styles. Patel is in Australia with British Council support and, in addition to working on India Meets with Lea, has a number of other engagements, which I hope to feature in a future post.

In other Canberra news, a new dance company, Australian Dance Party, is about to be launched. It is led by Alison Plevey, a 2009 graduate of WAAPA who has been teaching and performing in Canberra since her graduation. ‘Out of the political capital comes Australian Dance Party: Canberra’s newest dance and performance company,’ she says. For its debut production, ADP dancers will collaborate with six artists from the Canberra Symphony Orchestra on Strings Attached at the Nishi Playhouse (a pop-up theatre), New Acton, on 25–27 August.

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  • Dancer to watch: Seu Kim

Seu Kim graduated from the Australian Ballet School in 2015. A colleague sent me some online footage of him performing at Varna recently, where he was placed second. Watch it at this link. I love what shines through—honesty and passion in particular. And I love the lengthening of the neck and the emotion that radiates from that beautiful lift of the chest. Gorgeous.

Seu Kim at Varna, 2016

Kim identifies as Korean, although his family has lived in Japan for many years. He will join Royal Swedish Ballet as an apprentice dancer in August.

  • Oral history update

I had the pleasure in July or recording an oral history interview with Dr Elizabeth Dalman, founding director of Australian Dance Theatre and currently director of Mirramu Creative Arts Centre and Mirramu Dance Company. I first interviewed Dr Dalman for the National Library’s oral history program in 1994 so an update was definitely in order. Catalogue record at this link.

  • The Australian Ballet and CinemaLive

Dates are now available for the first three CinemaLive presentations of the Australian Ballet’s Fairytale Series, as mentioned in last month’s Dance diary. The Sleeping Beauty will screen on 8–9 October 2016, Cinderella on 12–13 November 2016, and Coppélia on 29–30 April 2017. Find a cinema near you at this link.

  • Press for July 2016

‘Triple treat shows off Bangarra’s finest.’ Preview of Bangarra Dance Theatre’s OUR land people storiesThe Canberra Times—Panorama, 23 July 2016, pp. 10–11. Online version.

Michelle Potter, 31 July 2016

Featured image: Seeta Patel and Liz Lea, detail from the poster for India Meets

Robyn Hendricks in 'After The Rain'. Photo: Daniel Boud 2016

Dance diary. June 2016

  • Robyn Hendricks

South African-born Robyn Hendricks is the newest principal dancer with the Australian Ballet, having been promoted to the position earlier this month. My most pleasant memory of Hendricks’ dancing is in Christopher Wheeldon’s After the Rain, in Canberra in 2013 partnered by Rudy Hawkes, and in Sydney this year partnered by Damian Smith.

Robyn Hendricks and Damian Smith in 'After the Rain', 2016. Photo: Daniel Boud

Robyn Hendricks and Damian Smith in After the Rain, 2016. Photo: © Daniel Boud

  • Stephen Page

Congratulations to Stephen Page, artistic director of Bangarra Dance Theatre, who has been honoured with the JC Williamson Award by Live Performance Australia. The award is in recognition of ‘individuals who have made a truly outstanding contribution to the enrichment of the Australian live entertainment and performing arts culture and shaped the future of the industry for the better.’ It would be hard to find anyone in the Australian dance community who is more deserving of this award than Stephen Page. For over 25 years he has worked tirelessly to create a body of work that highlights Aboriginal and Torres Strait Islander culture, and he has consistently encouraged many of his indigenous colleagues to do the same.

The JC Williamson Award was first presented in 1998 and since then only two others from the dance community have been honoured: Graeme Murphy in 2002 and Margaret Scott in 2007.

Bangarra%2c Belong rehearsal 2010%2c photo by Jess Bialek-2

Stephen Page in rehearsal for Belong. Photo: © Jess Bialek

  • Tutus, Hannah O’Neill and the Paris Opera Ballet

The Paris Opera Ballet newsletter for July (in English) contains an article about the making of tutus for the company’s recent production of Giselle. It is of particular interest for its inclusion of an image of Hannah O’Neill in the role of Myrtha. If the number of times the tag Hannah O’Neill is accessed on this website is anything to go by, O’Neill continues to attract significant interest in Australia and New Zealand. Here is the link. There are a number of other interesting links within this article.

  • The Australian Ballet’s film partnership with CinemaLive

The Australian Ballet has plans over the course of coming years to screen, in partnership with CinemaLive, some of its recent productions. The first program of three works, to screen in 2016–2017, is The Fairy Tale Series, comprising The Sleeping Beauty, Cinderella (Ratmansky) and Coppélia. No specific dates or venues are available at this stage, although a recent media release mentions that the productions will be screened in ‘over 600 cinemas worldwide, in territories including North America, Europe, Australia, New Zealand and Central and South America.’

Similar initiatives have made it possible for audiences worldwide to see performances from such companies as the Royal Ballet, Paris Opera Ballet and Bolshoi Ballet. It’s good to see the Australian Ballet following suit.

  • Benjamin Shine

It was good to see a mention in The Canberra Times of the success of a brief video posted by The Huffington Post about the work of Canberra-based artist Benjamin Shine. I mentioned Shine’s beautiful installation in the Canberra Centre in my Dance diary for April 2015. Recent Canberra Times story and video at this link.

  • Mr Gaga

During June I was able to get to see the documentary Mr Gaga as part of the HotDocs Festival. The title refers to Ohad Naharin’s Gaga movement vocabulary, a kind of improvisatory, cathartic vocabulary that Naharin created and has developed as a teaching tool, which is shown during the documentary. The film offered an interesting insight into Naharin’s career, including into his early life, and contained plenty of examples of his remarkable choreography, danced exceptionally by his Batsheva Dance Company. It aroused a whole variety of emotions in me including, I have to say, anger at what I thought was an extremely dangerous action on Naharin’s part while he was coaching one of his dancers as she tried to perfect a falling motion! But there were some very moving moments, some funny ones and a host of others. Well worth a look I think.

  • Press for June 2016

‘Study for RED.’ Article on the work of dancer and choreographer Liz Lea. The Canberra Times—Panorama, 18 June 2016, pp. 8–9. Online version.

‘Small company has big aspirations.’ Preview of Melbourne Ballet Company’s Divenire program. The Canberra Times—Panorama, 25 June 2016, p. 12. Online version.

Michelle Potter, 30 June 2016

Featured image: Robyn Hendricks in After the Rain (detail), 2016. Photo: © Daniel Boud

Jacob’s Pillow 2016

Around this time of the year I always get a little nostalgic for Jacob’s Pillow. The 2016 Festival is in full swing. Here is a link to the 2016 promo with video clips from the diverse program that is always a feature of the Pillow Festival.

My nostalgia this year was heightened when, while looking for a version of an article I wrote for The Canberra Times back in 2005, I chanced upon the images below and above, taken at the Pillow in 2007, which I have not published during previous bouts of nostalgia.

 

(l-r) National Historic Landmark sign, cafe, on-site accommodation.

Michelle Potter, 27 June 2016

Featured image: Inside the Archives Reading Room, looking up. Jacob’s Pillow 2007

Dance diary. May 2016

  • von Rothbart

Since seeing Stephen Baynes’ production of Swan Lake, first in 2012 and more recently in its revival of 2016, I have been thinking frequently about the nature of the character of von Rothbart, ‘an evil geni’, according to the cast lists of the earliest Russian productions. After reading on the Australian Ballet’s website that, in the Baynes Swan Lake, Rothbart is a ‘dangerously seductive dandy’ my interest quickened.

Brett Simon and artists of the Australian Ballet in Swan Lake. Photo Jeff Busby

Brett Simon as von Rothbart with artists of the Australian Ballet in Swan Lake Act III. Photo: © Jeff Busby

Hugh Colman has dressed Baynes’ Rothbart in a red wig when he appears in the palace ballroom in Act III. I was startled the first time I saw it to tell the truth, so carrot-coloured was it. It is not new knowledge, of course, that Rothbart means ‘red beard’ in German and many designers have referred to that meaning. Kristian Fredrikson’s headdress for Rothbart in Stanton Welch’s Swan Lake for Houston Ballet, for example, has straggling red ‘hair’ emerging from it and a pair of glassy red eyes on the sides (as seen in the featured image above). I was interested too to discover that, in Cyril Beaumont’s in-depth analysis of the ballet in his book The ballet called Swan Lake, there is a very detailed account of how Rothbart was meant to look in the Petipa-Ivanov version of the story—even down to the angle of the eyebrows and the shape of the beard.

But perhaps most interesting of all about Beaumont’s analysis is that he suggests that a character like Rothbart (one who is able to take on a variety of forms as he does in most traditional productions of Swan Lake) is often encountered in medieval romances and other early forms of literature—he gives an example of Archimago in Edmund Spenser’s Faerie Queene, who also has the power to assume diverse forms. In the story as adapted by Petipa for the production of Swan Lake on which most traditional productions centre, the swans are the victims of a character who has bewitched them, and who assumes the form of an owl to watch over them. The owl at times takes on a human form and in Act II appears in various places around the lake as an evil sorcerer. He listens to the conversation between Odette and Siegfried before disappearing. It then makes sense that he assumes another form in Act III, when he brings Odile to the palace, since he knows of Siegfried’s plan to marry Odette, which would outsmart him and remove his power.

I have no issues whatsoever in rethinking the story or the characters—Rothbart can even be a ‘dangerously seductive dandy’. But can he just turn up in Act III without there having some kind of manifestation of what he represents in the previous act? It makes a mockery of the story if some kind of force, call it evil, sorcery, seductive dandyism, or a combination of features, has not had an impact previously.

In the Baynes production, I kept wanting the projections that appear in the sky in Act II to be some manifestation of Rothbart. But I am reliably assured by a well-known dance writer/critic who spoke to an equally well-known member of the ballet staff at the Australian Ballet that those projections are swans and only swans. So for the moment I’ll just keep thinking that the Baynes Swan Lake is dramatically unsatisfying because I can find nothing that strongly prefigures Rothbart’s appearance in Act III.

  • Benois de la danse

Recipients of the 2016 Benois de la danse awards were announced in mid-May. It was a pleasure to read that Hannah O’Neill was the joint recipient of the award for Best Female Dancer for her performance in the title role in Paris Opera Ballet’s production of Paquita. She shared the award with Alicia Amartriain of Stuttgart Ballet.

But I was also delighted to see that John Neumeier had received a Lifetime Achievement Award. I still get shivers down my spine thinking of his exceptional Romeo and Juliet, which I saw recently in Copenhagen. And we have the pleasure of seeing his Nijinsky later this year in Australia.

I am also a fan of the choreography of Yuri Possokhov, who received the award for Best Choreographer (also shared). I haven’t seen the work for which he was awarded, the Bolshoi Ballet’s Hero of our time, but I have great memories of his version of Rite of Spring made for San Francisco Ballet.

The full list of awardees is at this link from Pointe Magazine. There is also the official site of the awards which gives a much longer account of the event, and includes a list of the nominees from whom the winners were selected.

  • Robert Helpmann

While searching for audio excerpts to use in my recent 2016 Dance Week talk, I came across some interesting snippets in an oral history interview I recorded with Bill Akers in 2002. Akers, who held several positions with the Borovansky Ballet and the Australian Ballet, worked closely with Helpmann on many occasions and, in particular, lit Helpmann’s Australian-produced ballets. I found his comments on the relationship between The Display and Yugen especially insightful. Although it is well-known that The Display was, in part, based on an incident that occurred early in Helpmann’s life, before he went to London in the 1930s, that Yugen was in some ways the antithesis of The Display is perhaps not so well-known. In the first audio excerpt, Akers talks about the early incident that clearly stayed in Helpmann’s mind throughout his life. In the second Akers reminds us of that incident, and then mentions how Yugen relates to it.

Akers on Display

Akers on Yugen

The full interview with Akers is available online via the National Library’s oral history site.

  • Press for April

My article ‘Robert Helpmann: Behind the Scenes with the Australian Ballet, 1963-1965’ has been published in Dance Research, 34: 1 (Summer 2016), pp. 47-62. It fleshes out some of the ideas I have considered on this website relating to Helpmann’s two early ballets for the Australian Ballet, The Display and Yugen. The cover image on this issue of Dance Research is by Walter Stringer from the collection of the National Library of Australia. It shows Gail Ferguson as a Woman of the Village, in Yugen, mostly likely taken during a 1970s revival.

Dance Research 34:1 2016 Cover

Dance Research is published by Edinburgh University Press. Further details at this link.

 

Michelle Potter, 31 May 2016

Featured image: Detail of Kristian Fredrikson’s headdress for von Rothbart in Houston Ballet’s Swan Lake. Photo: © Michelle Potter, 2011

Ruth Galene (1929–2016)

Ruth Galene. Born Berlin, 10 January 1929; died Sydney, 17 May 2016

Ruth Galene, who has died in Sydney aged 87, had an extraordinarily diverse career in dance. Born Ruth Helfgott in Berlin of Polish-Jewish parents, she came to Australia in 1938. The family settled in Sydney and Ruth’s first formal dance experience was with Viennese émigré, Gertrud Bodenwieser. After a successful audition, when she wore, as she recalled, a white silk dress that floated as she moved, Ruth began modern dance training under two of Bodenwieser’s leading dancers, Evelyn Ippen and Bettina Vernon. Shortly afterwards, Ruth began taking ballet classes in Sydney with Estelle Anderson and a little later with Lorraine Norton and then Leon Kellaway.

Ruth performed briefly with the Borovansky Ballet, where she counted star dancer Kathleen Gorham as one of her closest friends. She then joined the English company, Ballet Rambert, during its Australasian tour of 1947–1949, as indeed did Gorham. With Rambert, Ruth danced under the name Ruth Boker. Boker was a family name and Ruth chose it in preference to Marie Rambert’s suggestion of ‘Sylvia Sydney’. Her most successful role with Rambert was the principal one of the Italian Ballerina in Antony Tudor’s Gala Performance, which she performed in the company’s final season in Perth in 1949.

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Australian corps de ballet dancers with Ballet Rambert, 1947. Ruth is sixth from the left at the barre. Source: Ballet Rambert: the tour of Australia and New Zealand. Program book edited by Harry Tatlock Miller, p. 51. Photo: Alec Murray

While performing with Borovansky and Rambert, Ruth continued working towards the Royal Academy of Dancing examinations and passed Advanced with Honours in 1948 and then successfully completed the Solo Seal exam.

When Ballet Rambert left Australia for London in 1949, Ruth and Gorham travelled with the company and, on her arrival, Ruth continued her ballet training with esteemed teachers, including Vera Volkova in London and Olga Preobrajenska and Victor Gsovsky in Paris. Speaking of Volkova’s classes Ruth recalled:

‘The classes had become a showcase for visiting directors of dance companies who were looking for new talent. One week after my arrival in London, Roland Petit, director of Les Ballets de Paris, walked into the studio to watch. Petit chose two dancers for his company: Kathleen Gorham and me.’

In Europe, as well as dancing with Roland Petit’s company, Ruth performed with Le Grand Ballet du Marquis de Cuevas. It was choreographer and ballet master of the de Cuevas company, John Taras, who suggested she change her name (again). She consulted with renowned dance writer Cyril Beaumont and chose Galene after the Russian ballerina Galina Ulanova. With de Cuevas she had the opportunity to dance the works of some of the twentieth-century’s most exciting choreographers, including Léonide Massine, Bronislava Nijinska, Jean Babilée, George Skibine and George Balanchine.

Eventually, Ruth decided she needed to return to Australia to contribute to the development of dance in Australia. She joined the Melbourne-based National Theatre Ballet where she danced a varied repertoire, which included Beth Dean’s 1950 production of Corroboree in which Ruth danced the role of the Thippa Thippa Bird. It was while dancing Myrtha, Queen of the Wilis, in Giselle for the National, however, that she met her husband, Peter Frank. Ruth recalled the event:

‘I met my husband to be, Peter Frank, through an incident that was sheer coincidence. On crossing Collins Street in Melbourne, Peter encountered a mutual friend (we were later to realise). The question posed to Peter by his friend was “are you coming to the ballet tonight?” He decided to do so. The role in which Peter saw me for the first time was the Queen of the Wilis in Giselle: an unrelenting, stern character. Not exactly an inviting introduction to his future wife.’

Back in Sydney Ruth began teaching, having bought a school in Northbridge. She also began to branch out into choreography in a major way. She created The Tell-tale Heart, with a commissioned score by Nigel Butterley, for the inaugural performance of the Sydney-based choreographic ensemble, Ballet Australia, in 1961 and went on to make several more works for this company. They included Adagio Albinoni in 1967, which she always regarded as a breakthrough work in which she was able to combine classical and contemporary vocabulary. Adagio Albinoni was subsequently taken into the repertoire of the English company, Ballet Caravan.

In 1969 Ruth began formulating her system of dance training, Dance Dynamics, which she worked on for some thirty years until 2000 when she felt it had developed into a comprehensive system. She described it as having a movement vocabulary that was ‘integrated with key elements pertaining to the Australian natural environment’. During this time she established the New Dance Theatre, renamed in 1989 as Red Opal Dance Theatre. With this company she aimed to create works that demonstrated a distinctive, Australian identity. She created over 100 works for her company, often using original scores by Australian composers. Red Opal Dance Theatre and its predecessor performed across various Sydney venues and in regional areas in New South Wales from 1967 up until 2005.

Ruth Galene is survived by a son and daughter-in-law, Robert and Christina Frank, and three grandchildren.

Michelle Potter, 20 May 2016

Featured image: Ruth Galene and Ross Hutchison in The First Sunrise (detail). The New Dance Theatre, 1970. Source: Ruth Galene, Dance Dynamics, p. 61

Sources:

  • Ruth Galene, Oral history interview recorded by Michelle Potter, 1999. National Library of Australia, Oral History and Folklore Collection, Keep Dancing Collection, TRC 3490
  • Ruth Galene, Dance Dynamics. Australian contemporary Dance Training System (Sydney, n.d [1998?])
  • Papers of Ruth Galene, National Library of Australia, MS Acc.10.140
  • Carmel Bendon Davis, The Spirit of the Dance: The Story of Ruth Galene, revised edition 1998
  • Records of Ballet Australia, 1956-1976. National Library of Australia, Keep Dancing Collection, MS 9171
  • Ballet Rambert: the tour of Australia and New Zealand, 1947–1948. Program book edited by Harry Tatlock Miller, photographed by Alec Murray, designed and decorated by Loudon Sainthill (Sydney: Craftsman Bookshop, [1947]