Joy Dalgliesh. A Tribute

I am thrilled to publish, on behalf of former student of Xenia Borovansky, Elizabeth Kennedy, this tribute to Joy Dalgliesh (1936-2024). As a result of her long friendship with Joy Dalgliesh, Elizabeth is able to reveal to us an image of Madame (as Xenia Borovansky was known to her students and others) that is quite different from what has been written elsewhere. Along the way she introduces us to other little known features of the world of the Borovanskys and I am sure readers will enjoy learning more about the Borovansky family, of which Joy Dalgliesh was clearly a member.
Michelle Potter, 27 August 2024.

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Remembering Joy Dalgliesh
Elizabeth Kennedy

I first encountered Joy Dalgliesh in 1968 when I began lessons at the Borovansky Ballet Academy in Melbourne with Madame Xenia Borovansky. I cannot offer a completely dispassionate account: Joy and I shared many opinions on ballet matters and were bound to share biases as well.

In 1970 I received the first of what would become several invitations to accompany Madame on her annual summer holiday in Daylesford, initially staying at the Villa Camellia, the property of the Russian singer Mara de Renroff.

The author (centre) with Madame and her brother V.R. Smirnoff at Daylesford railway station

Shortly afterwards, Madame bought a holiday house of her own in Daylesford, and on and off over the next ten years I would visit her there or at her house at Grandview Grove where Joy, when not visiting her parents for the weekend, would sometimes be present.

The author at Madame’s with her two dogs Mushchka and Sharek

In 1980 I left Australia to live and continue my university studies in Scotland. On departure Madame gave me a signed photo of herself.

Madame’s apparent pessimism in this dedication was not justified

In the 1990’s Joy and I resumed contact, albeit from different continents, and from the early years of 2000 were in frequent communication. Our last contact was at the end of 2023, shortly before she died.

In 2013 Joy sent me some hand copied excerpts from some of the cards she received from Madame:

Joy arrived in Melbourne from Wodonga in the early 1950’s to work at a solicitors’ office, in the city of Melbourne, first training in book-keeping and subsequently as a paralegal. She worked in that capacity into her 50’s and then worked at the head office of The Age in Melbourne. She initially lived with an elderly Polish lady called Mrs Krause, a client of her employers, first at Kew and then in Burke Road, East Hawthorne, Melbourne. Joy was destined to live in that part of Melbourne for the next thirty years.

Through her work connections and in conjunction with those of the lady called Mrs Mackay, an invitation was extended to Joy to go and stay at 14 Grandview Grove, East Hawthorne, the Borovansky residence in Melbourne. Madame Xenia Borovansky had just been widowed, was effectively on her own, and inevitably vulnerable to the dubious characters who batten onto rich old widows. Madame Borovansky had no extended family in Australia who could give her security and comfort. Mrs Mackay, a close friend, called on Joy to lend what support she could. Joy accepted the invitation to stay with Madame—a short distance from where she was living at the time with Mrs Krause, just the other side of Burke Road. She became Madame’s family, her extended family, a shield, a rock and—in the final years—her carer.

Joy taken by V.R. Smirnoff, Madame Borovansky’s brother, at Grandview Grove sometime in the 1970s

Joy’s love of ballet started in her childhood when she had private lessons while still in Wodonga. Once in Melbourne, for a long time outside her day job hours, she trained mostly with Martin Rubinstein who took her under his wing. When he was absent, examining, he nominated her to step in for him and take his classes—as an associate or, as Joy would say, his ‘sidekick. There was an occasion once for Boro to be present—always on the lookout for potential Borovansky Ballet candidates—so the critical eye of the dancing master did behold Joy briefly! But it was not to be—Joy’s great merit lay elsewhere, unbeknown at the time.

Edouard and Xenia Borovansky were great celebrities, moving in exalted circles on the Australian scene at the time. They had exceptional connections prior to their arrival in Australia: Pavlova, Fokine, Colonel de Basil, Picasso (the last two particularly well known to Boro): the whole world of beauty and glamour that classical ballet stood for in those days.

Joy attended many of the spectacular shows put on in Melbourne by the Borovansky Ballet Company and had many fond memories of these, including seeing Barry Kitcher dance in Graduation Ball. Through the good offices of Michelle Potter, Joy was able to make contact with Barry in recent years and get news of Martin Rubinstein and reminisce and exchange some ballet secrets. Of course, Joy well remembered seeing Boro himself perform in ballets such as Carnaval and Coppélia. She considered the Borovansky Nutcracker productions absolutely ‘the best’, compared to others she had been able to see in different formats over the years: the Borovansky ones, in her opinion, were ‘particularly true to the original conception of this Christmas ballet as actual childrens’ world of magic’. Joy also particularly observed that, unlike with ‘ballet companies these days where there’s a stream of directors Boro did everything himself’—not to mention the fact that ‘he spent all of his earnings on his dancers’ salaries and company costumes’, while his wife Xenia had to foot the entire purchase price of the matrimonial home at Grandview Grove herself. (The house was in her name alone).

A Borovansky Australian Ballet Christmas card. On the inside the pre-printed message reads, ‘With all Good Wishes for a Merry Christmas and a Happy New Year from Edouard and Xenia Borovansky, 14 Grandview Grove, Hawthorn E. 3., Melbourne, Australia, Photography by: Allen Studios’

Over many years, part of the inner sanctum of Madame’s private world, Joy was able to observe and hear much that went on in Madame’s life, both prior to arriving in Australia and after Boro’s early death at the end of 1959. For that, Joy was envied and maligned in equal measure—albeit nothing would deflect her from what became her life’s mission. She knew the back stories to the gossip and trouble alluded to by Frank Salter in his book on the Borovansky phenomenon in Australia. She would relate with amusement or deliberation, as the case may be, many anecdotes. One such goes back to the time of Anna Pavlova when she was in Monte Carlo with her ballet company. The dancers were not greatly remunerated in those days, in fact, they were all quite poor and at times had to scrape around to feed themselves. On this particular occasion somebody came up with a solution: they pooled all their current resources and sent Feodor Shevlugin off to the Casino to gamble in order to secure the necessary funds for some provisions. Off he went and a while later returned with stacks of baguettes and onions. The onions were duly fried, spread out inside the baguettes and eaten with relish; they did all this self-catering in the part of the hotel which was at the other end to where Madame Pavlova had her rooms, but the feast was sufficiently fragrant for her easily to detect.

Another of Joy’s anecdotes concerned Robert Helpmann and Rudolf Nureyev. When Nureyev staged Don Quixote for the Australian Ballet Company, during the Arts Festival held in Adelaide in 1970, he and Helpmann had been staying at a house belonging to Mrs Mackay’s family. Whereas Nureyev graciously paid the rental for his share of the accommodation, Helpmann did not. Apparently, Joy said, ‘he considered himself entitled’.

With Madame’s influence over the world of ballet for many years it was natural that Joy would look for beauty and perfection in the Vaganova Method. In recent years she would spend hours on her iPad watching YouTube videos and purchasing DVDs of some of the latest fabulous dancers representing that school. She adored Svetlana Zakharova, Ulyana Lopatkina and Svetlana Lunkina. Joy considered Lunkina ‘the best Giselle’ and that Zakharova ‘had the best feet’. In contrast, watching Margot Fonteyn in Ondine and the Rose Adagio in The Sleeping Beauty she noticed how Fonteyn, ‘sickled her foot when doing the retiré and développé,’ and ‘sickled her left foot behind the leg in pirouettes’. Of the male dancers in more recent times, Joy adored Roberto Bolle and referred to him as ‘the most beautiful chap’.

In contrast, she would say of Robert Helpmann ‘Helpmann couldn’t dance’. Indeed, she reserved her greatest scorn and criticism for this fellow Australian and the mythology that went into overdrive surrounding him. She found particularly distasteful the means Helpmann, van Praagh and other anti-Borovansky fellow travellers, deployed over the decades to undermine the Borovanskys’ achievements, and their attempts to relegate to obscurity the company and its huge contributions to Australia.

Joy was not alone in Australia in casting a jaundiced eye in Helpmann’s direction, as correspondence in The Herald in 1968 makes clear.

Clipping from *The Herald* with sections marked in red pencil, preserved by Joy. Sent to the author in 2016

The 1980 gala tribute celebrating Borovansky’s work as the founder of ballet in Australia, was held at the Sydney Opera House by the Australian Ballet under the directorship of Marilyn Jones, and attended by Madame Borovansky, her friend Mrs Mackay, Sanderman, and Edna Busse; alas, Joy stayed behind at Grandview Grove looking after the house.

The Australian Ballet 50th Anniversary Gala in 2012 was received by Joy with sadness: ‘There was no scenery, little pieces and it wasn’t classical AND no mention was made of the Borovanskys. For a long time, people called the Australian Ballet Company The Borovansky Ballet Company.’

This was the background against which Joy’s mission in life crystallised. Australia, she felt, owed the Borovanskys a debt of honour and something needed to be done. As a proud Australian, in her own modest fashion, she committed her life to the surviving member of this extraordinary couple, dedicating herself to Madame—at work, in the Borovansky Ballet Academy studio, and (increasingly) at Madame’s home. It was Joy who secured the state pension for Madame, when Madame was told, in no uncertain terms, that none would be forthcoming in her case. It was Joy who was there for Madame when fire ripped through one of the flats forming part of 14 Grandview Grove, through the negligence of a tenant. It was Joy who looked after and kept house for Madame. And when cancer was taking increasing toll over Madame’s ability to look after herself independently, Joy became her constant carer and companion enabling Madame to stay in her own home to the very end.

A Russian Orthodox priest was called the night before Madame died. Mrs Mackay (who lived very close at ‘the grandest place in Burke Road’ and visited regularly in the evenings to play Chinese chequers with Xenia) arrived by taxi an hour before she died. Joy was already there on her knees by the bedside.

Edna Busse arrived from Wagga Wagga to find Joy waiting to set off to the funeral. Joy told me that Miss Busse pointed to her saying to the undertakers ‘Oh, she’s just a tenant’, and demanded that Joy ‘take off those black shoes and those black clothes!’ Some tenant! Although comically snobbish, Joy was hurt and reflected afterwards on what had possibly produced the outburst—her only hypothesis was that Miss Busse was wearing one of her light-coloured, signature vintage ‘Jumper’ dresses of her own making and realised Joy was perhaps more appropriately dressed.

After Joy left Grandview Grove she lived for another 38 years. She remained very loyal to the memory of Madame and Edouard Borovansky.

She died just short of her 88th birthday. A Memorial Service was held on 26 July 2024 in Doncaster, Victoria. Joy was one of those rare Australians—a national treasure.

Edouard and Xenia Borovansky —The Young Australian Pioneers

Books referred to in the text:

Kitcher, Barry. From Gaolbird to Lyrebird—a Life in Australian Ballet (2001 edition now sold out) new eBook edition (BryshaWilson Press, 2016) now with over 340 images compared with around 100 in the 2001 printed book.
Salter, Frank. Borovansky. The Man Who Made Australian Ballet, Wildcat Press, Sydney, 1980.

Elizabeth Kennedy, 25 August 2024

Featured image: Extracted from ‘Joy taken by V.R. Smirnoff, Madame Borovansky’s brother, at Grandview Grove sometime in the 1970s’. (Full image above)

Reviewing dance

I am in the fortunate position of regularly receiving invitations, with complimentary tickets included, to various dance performances. But recently some of those invitations have included words noting that I am welcome to come and ‘enjoy’ the show but that reviews are not desired. No one has actually said reviews are not to be written, are forbidden, or some such remark, but what is inferred is perfectly obvious. Why are reviews being dismissed? Don’t reviews have a place in the development of dance and dancers (even young ones?). Is this some kind of media manipulation? I struggle to understand the situation and, to put it mildly, I find it frustrating to be told what I can, or can’t write about.

Good criticism has to be honest and there will always be cases where a reviewer will feel the need to suggest there are issues that cause a work to fall short. But that’s what happens when a work is presented in a public arena, whether it is dance or something else in the world of the performing arts. One young dancer said to me not so long ago that he doesn’t get enough feedback and that reviews give him that feedback. Another gentleman from the administrative area of a dance organisation told me that my reviews, despite the occasional somewhat negative remark, helped the company improve! Reviews matter. They stand strong against flowery media releases.

In a book called Mirrors and Scrims, American dance writer and critic Marcia Siegel writes, ‘I see myself as both a demystifyer and a validator, sometimes an interpreter, but not a judge.’ Mirrors and Scrims is one of the best collections of dance criticism I have read. I stand with Siegel’s concept of a critic being a ‘demystifier’, ‘validator’ and ‘interpreter’ and I make an effort to avoid being judgmental. I hope that this move to invite reviewers to come and ‘enjoy’ a show without writing it up somewhere will sink into oblivion. Dance reviews have a place and, in addition to what I have written above, that includes creating the history of an art form.

Read my review of Mirrors and Scrims at this link.

Michelle Potter, 23 July 2024

The image included on the poster image at the top of this post is a scene from Coloration in Hot to Trot. QL2 Dance, 2023. Photo: © O&J Wikner Photography

Elixir Festival, 2024

10–20 April, 2024. Sadler’s Wells Theatre, London
reviewed by Sonia York-Pryce

It has been 10 years since the inaugural Elixir Festival, the brainchild of Chief Executive & Artistic Director of Sadler’s Wells, Alistair Spalding, and Artistic Programmer and Producer of the Elixir Festival, Jane Hackett. Created in 2014 as ‘a celebration of creative ageing’, the 4-day festival thrust the subjectivity of dance and ageing into the spotlight, highlighting the artistry of older professional dance artists. It featured works by Mats Ek, Pascal Merighi, Hofesh Shechter, Matteo Fargion and Jonathan Burrows with performances by Dominique Mercy of the Pina Bausch Company, Mats Ek with his muse Ana Laguna and Argentina’s Generación Del Ayer, plus former members of London Contemporary Dance Theatre returning to the stage. This program drew a full house confirming that audiences were interested in seeing diversity, with great artists performing irrespective of their age. The Company of Elders, Sadler’s Wells longstanding community dance company, performed alongside other amateur companies from the UK. The Art of Age conference brought together dance scholars, and educators to discuss the continuing age bias and the need for more inclusivity within the field of Western dance.

Move on a decade and the Elixir Festival 2024 has grown in stature and prominence. The festival has been co-funded by the Creative Europe Program of the European Union, as part of DANCE ON, PASS ON, DREAM ON. Spanning over eleven days, featuring performances from international professional dance artists from 12 countries, amateur dancers, workshops, Elixir on digital stage and talks. Dance featuring seasoned performers is certainly becoming more mainstream, but progress is still needed to maintain a permanent presence. Headliners included the Mother of African dance Germaine Acogny, performing alongside, Malou Airaudo from Pina Bausch Company, Louise Lecavalier, Charlotta Öfverholm, Dance On Ensemble Berlin, Ben Duke and Christopher Matthews to name but a few, accompanied by Sadler’s Wells Company of Elders, with UK based amateur performance groups.

The opening night’s triple bill was a feast of creative ageing and life experience. Germaine Acogny (79) founder of Senegal’s École des Sables and Malou Airaudo, who incidentally was celebrating her 76^th birthday on the night, performed their first work together, Common Ground[s] to Fabrice Bouillon LaForest’s accompaniment on strings. Beautifully lit by Zeynep Kepekli to highlight the two acclaimed performers, with costume design by Petra Leidner, it is a work that shows them in a variety of modes, as warriors and survivors of dance. Whilst giving each other respect, there is tenderness, and a mirroring of motion. The audience were delightfully receptive to these two dance elders, and it certainly made a strong statement that seeing ‘age on stage’ was receiving the respect it warranted. This work has toured internationally as a worthy partner alongside Pina Bausch’s Rite of Spring. Bausch was an early advocate for intergenerational dance, valuing the assets ageing brought to the performance.

To follow Louise Lecavalier (65), the punk princess of contemporary dance, famed for her incredible gravity defying performances with Edouard Lock’s La La La Human Steps in the 1980s, performed her work, Minutes around late Afternoon. She has come to choreographing late in life but through this work she continues to thrill with her ceaseless moving, arms in constant motion, mirrored by those feet as she bourrées endlessly, gliding across the stage, effortlessly. Dressed in black by designers Yso & Elizabeth Duran, she is defined by the starkness of the stage lighting by Alain Lortie and François Blouin, with her face at times obscured by her blonde tousled hair cascading out of a hoodie. She could be a teenager, judging by her unlimited stamina and presence as she moves continuously, with hardly a breath exhaled as she balances ceaseless motion with the accompanying sound mixing of Benot Beaupre. Music by Antoine Berthiaume (Lien 3), The black dog (Bass mantra, Greddy gutter guru), Dawn of midi (Atlas), are laudable partners to her performance. Lecavalier gives a masterclass in ‘seeing is believing’, defying all concepts that you are too old to thrill. She is just as exhilarating to watch now as she was when a ‘no limits barred’ dancer back in the 80’s. May she never stop!

The final work for the evening White Hare, was commissioned by Sadler’s Wells, and is described as a trio for 2 dancers and a tortoise. Choreographed by artistic director Ben Duke of LOST DOG with fantastic performances by 50 somethings Christopher Akrill and Valentina Formenti as a middle-aged couple navigating life. Duke is known for producing work with a dark satirical edge and this is no different as it traverses life in reverse with issues of Armageddon, survival, and trivialities of life. This alongside the aptly named Tipple the tortoise, who perhaps appears as a metaphor for longevity. It’s a beautiful, humorous piece with exuberant dancing from both, with the set design by Delia Peel and sound by Jethro Cooke. It is a fitting foil to end the evening’s wonderful inspirational performances.

Throughout the festival choreographer, performer and visual artist Christopher Matthews/FORMED VIEW premieres ACT 3, the final work of his trilogy, following on from My Body and Lads. Here Matthews explores queer masculinity, obscured emotions, identity, fragility, intimacy, ageism and the male gaze in later life. In an artist talk during the festival with Nicola Conibere he revealed how he needs to re-think dance history, questioning how masculinity is defined in dance. For ACT 3 he references Kenneth MacMillan’s bedroom scene from Romeo & Juliet, imagery from New York based photography collective PaJaMa, queer writers of the 1930s and 40s with further inspiration from the nude male Greek and Roman marble sculptures in Munich’s Glyptotek. The work features a cast of male collaborators all over the age of 60, Donald Hutera, Bruce Corrie, Andy Newman, Roberto Ishii, John Charles Marshall, Markus Trunk and Stephen Rowe. This is a statement in itself, as male performers of this age are rare to see performing. So, giving them a place to perform and be seen is a triumph. The set is minimal, a mattress covered in white fabric, the men similarly costumed, and the observed starkness brings for greater visibility of the content. By using the domestic setting of a bedroom, he experiments with intimacy by bending the boundaries of realism and fantasy. The work is improvised with butoh-inspired movements that explore tenderness and connection. Matthews is interested in what is considered high or low art and interrogating how an audience observes performance. The work was first shown on the opening night of the festival in the upstairs foyer of the main theatre then later in a similar space in the Lilian Baylis Studio. It was well received.

On April 12^th the double bill brought together Charlotta Öfverholm and Jordi Cortés former members of DV8, In A Cage of Light and Susan Kempster’s Mother in the Lilian Baylis Studio. Öfverholm and Cortés, choreographed and performed the work alongside fellow collaborator Tobias Hallgren, with the score played by composer and musician Lauri Antila. Öfverholm and Cortés bring together a sublime physical theatre performance of wit, balance, showmanship, humour, melancholy, drama, authenticity and life experience. These seasoned performers are so comfortable on the stage. Not for one minute is there any respite for Öfverholm, as she is either swinging on a trapeze high above the stage ready to plummet or hanging by her fingertips from a ridiculously high steel bar fixed perilously high on the wall stage right, or metaphorically assuming the role of a cello artfully played by Cortés. These performers accomplish what we believe is impossible for older dancers let alone older people to achieve. The piece moves at a rapid pace and concentration is essential to keep a breadth of their performance through dance, voice, song or stillness. This is a well performed piece and timing is of the essence. Their love for performing is all encompassing and the audience love the ride.

Charlotta Öfverholm & Jordi Cortés rehearsing at Sadler’s Wells. Photo: © Sonia York-Pryce

Kempster’s Mother commissioned by Sadler’s Wells, featured an intergenerational duet which looked at intimacy, ageing and how this is perceived when we look at the relationship between an older woman and a young man or perhaps a mother and son. It is a work that looks at two different bodies, ambiguity and assumptions, contemporary dance partnering, with the connections and perceptions that inspire Kempster. Danced by creative collaborators Charlotte Broom and Harry Wilson, the work is bursting with free-flowing movements filling all angles of the stage with score by composer Dirk Haubrich. The dancers are costumed similarly in stunning bronze fabrics designed by Jessica Cabassa which enhance the movements of the dancers, with lighting design by Ros Chase. To follow on from the physical theatre of Öfverholm and Cortés was a hard task, with the lines of distinction at times blurred, but it was the pure dance that triumphed, and it appeared the dancers enjoyed the experience as much as the audience.

On April 17th in the Lilian Baylis Studio, Berlin’s Dance On Ensemble brought 2 works, London Story a reimagining of Merce Cunningham’s (1963) Story and Mathilde Monnier’s reworking of the former to produce Never Ending (Story). Dance On Ensemble is the first mature dancer company founded since the legendary NDT3, (1991-2006) and is on its second iteration with continued secured funding from the German Federal Government. They also form part of DANCE ON, PASS ON, DREAM ON. Sadler’s Wells is also one of 11 DOPODO partners co-funded by the European Union. Incidentally for Sadler’s Wells that partnership will come to an end after Elixir 2024, which is a great loss for the establishment and UK dance in general. Story featured dancers, Ty Boomershine, Tim Persent, Marco Volta, Emma Lewis, Gesine Moog, and Jone San Martin. The original improvised work was performed numerous times with constant changes and alterations allowed at each performance; with only one filmed version in 1964 for reference. So, the archive is indeed limited and much remains unknown other than some notes from Cunningham himself. With this in mind DOE has chosen to re-imagine the work with the assistance from Cunningham re-stager Douglas Squires. Centre stage is set with a huge pile of clothes that the cast rummages through, puts on, takes off and changes numerous times. The scenery consists of 2 black boards with text charting time changes, transitions, performance and movement notes, all are markers for the audience to understand how the performance will progress. Matching this is the score by Toshi Ichiyanagi with live music provided by Mattef Kuhlmey, with a digital clock that sets the pace as it runs simultaneously throughout the performance, clocking the clothing changes, transitions, changes of direction and much more. This version is colourful, joyful, amusing and certainly retains its modernity. The re-imagined choreography gave the cast wonderful opportunities to highlight their capabilities and they work beautifully as an ensemble. With lighting designs by Martin Beeretz, costumes by Sophia Piepenbrock-Saitz and visual artist Christopher Matthews assumes the role of Cunningham collaborator Robert Rauschenberg, providing ready-made stick images in primal coloured tape depicting dance moves offering further embellishment and humour to the work.

Mathilde Monnier’s Never Ending (Story) is her response to Cunningham’s Story using the poetry of David Antin (1932-2016), a contemporary of Cunningham and John Cage. Monnier experiments with how thought and movement come together. This work is the antithesis of Story in that it is a structured composition with the dancers constantly on the move. The contrast between Antin’s poetry and Monnier’s choreography frequently produces moments of real humour. The cast of Ty Boomershine, Marco Volta, Gesine Moog, Emma Lewis, and Jone San Martin, bring together, voice, movement, thought and repetitions in an altogether entertaining piece. Light design is by Martin Beeretz, costumes by Mathilde Monnier and sound design by Mattef Kuhlmey.

These two works illuminate the skills of Dance On Ensemble and demonstrate that artistry is at the forefront here. How fortunate the audience is to see this company demonstrate that dance need not have an expiry-date, but that age and life experience become assets that embellish and imbue a performance.

Sonia York-Pryce, 20 June 2024

Featured image: Elixir Banner, featuring Germaine Acogny and Mailou Airoudo. Image credit: Sadler’s Wells

Reliving the past

by Jennifer Shennan

Harry Haythorne (Artistic Director of Royal New Zealand Ballet 1981—1992) was always an enthusiastic admirer of Gray Veredon’s choreography. In 1981, the effervescent Ragtime Dance Company, to Scott Joplin, had set the stage sizzling and gave Jon Trimmer one of his favourite roles. In 1988 Harry commissioned Tell Me A Tale, which wove elements of 19th century Pakeha settlers interacting with local Maori community, incorporating haka into the danced narrative. To my memory that was the most assured choreographic staging in and of a bi-cultural New Zealand we have seen.

Veredon’s rapport with designer Kristian Fredrikson was evident in the shadowed atmosphere of a powerful set and vintage costumes. Images remain of the performances by Jon Trimmer as the father, Kerry-Anne Gilberd the mother, Kim Broad the son, with Warren Douglas powerfully leading the haka that challenged a love interest across the racial divide. It’s always intriguing to think about what keeps some dance memories alive for decades while others fade.

Kerry-Anne Gilberd and Stephen McTaggart in a scene from *Tell Me a Tale*. Royal New Zealand Ballet, 1988. Photographer not identified. Courtesy Gray Veredon

In 1989, Haythorne commissioned A Servant of Two Masters—with Veredon and Fredrikson again working together. The request was for a set that could easily travel abroad since Veredon’s contacts with the impresario Manfred Gerber enabled the Company’s first tour to Europe. Fredrikson came up trumps with silk banners that filled the stage yet could be folded down into two suitcases. Board a plane with a ballet in your carry-on luggage? Touché.

To vivacious Vivaldi, the full-length work proved a triumph as Veredon, who knew commedia dell’arte well, made stunning character roles for every soloist in the company, each one of whom rose to the challenge—most outstandingly Eric Languet as Truffaldino and Warren Douglas as Brighella. Even the Artistic Director was on stage as Harry leapt at the chance to play Dr. Lombardi, cavorting opposite Jon Trimmer as the wealthy Pantalone. It is true as Michelle Potter points out they did not push their luck by overplaying the farce, but reined in their comic timing which of course controls character the more impressively. Many audience veterans vote Servant as the ‘best ever’ work from RNZB repertoire. The tour proved hugely memorable for the Company for a completely different reason—they were in Berlin when the Wall came down. Dancer Turid Revfeim’s memories and descriptions of the events could and should be the subject of another full-length choreography.

In the book The Royal New Zealand Ballet at 60, Veredon wrote a perceptive article, Developing New Synergies, about his numerous seasons with RNZB. His tribute to Jon Trimmer as leading dancer for decades is for the record. Veredon also shares cogent and relevant ideas for choreographic development within a ballet company, and the responsibility to keep the best of the repertoire extant. Ka hau te rangatahi—the new net goes fishing.

Jennifer Shennan, 4 July 2022

Editor’s note: This article began as a comment on the review on this website of the Australian Ballet’s production of Harlequinade but deserved to become a short article on new and old repertoire. Gray Verdon’s comments on repertoire in The Royal New Zealand Ballet at 60, as mentioned above, are definitely worth reading especially the last paragraph on p. 166. More about A Servant of Two Masters and Tell me a Tale can be found in Kristian Fredrikson. Designer, pp. 147-156.

Featured image: Jon Trimmer as Pantalone with a group of Zanies in A Servant of Two Masters. Royal New Zealand Ballet, 1989. Photo: © Martin Stewart (?). Courtesy Gray Veredon

Writing Dancing

The art of writing about dance has been on my mind for a while just recently—more so than usual that is. Several recent occurrences have sparked off my current bout of thinking. First, a colleague in New Zealand sent me an email in which she asked if I had read Zadie Smith’s article Dance lessons for writers, first published in The Guardian in 2016. I hadn’t read it, but it sounded interesting so I quickly got myself a copy. Then, Canberra-based dancer and writer, Emma Batchelor, gave a talk at the recent BOLD Festival in which she discussed the Smith article—one of those strange co-incidences that happen occasionally. Not long after, I read that Clement Crisp, renowned English dance writer and critic, had died.

The Zadie Smith article included six short analyses, or comparisons really, of the dancing styles of well-known figures, which Smith puts side by side: Fred Astaire/Gene Kelly, Michael Jackson/Prince, Rudolf Nureyev/Mikhail Baryshnikov and others. But it was Smith’s opening section that was the strongest element in the article. She based her opening comments around a remark addressed to dancers by Martha Graham:

There is a vitality, a life force, and energy, a quickening that is translated through you into action, and because there is only one of you in all of time, this expression is unique. And if you block it, it will never exist through any other medium and it will be lost. The world will not have it. It is not your business to determine how good it is nor how valuable nor how it compares with other expressions. It is your business to keep yours clearly and directly, to keep the channel open.

Smith asked what an art of words could take from the art that needs none. She mentioned the ideas of position, attitude, rhythm and style. It’s a terrific quote by Graham and an interesting concept by Smith of writers learning from what dance offers. Problem is that Smith didn’t really pick up in her following comments/analyses the ideas she found apparent in Graham’s paragraph. At least she didn’t in my mind!

Then along came Emma Batchelor! In her paper, Batchelor posed slightly rearranged subtitles following on from Smith’s Dance lessons for writers. She discussed for example Writing lessons learned from dance and Writing lessons for dancers. Ultimately she wrote:

The dance work I most respond to has an intellectual rigour. The thought process behind movement, the development of an idea. An understanding of what you want to convey and how.

Legibility. How legible is an idea, a movement.
Experimentation and play. Testing.
Literality. Opening or closing down space for interpretation.
Striving for a sense of ease, making the complicated look effortless.

Batchelor then examined a particular work by choreographer Chloe Chignell, Poems and other emergencies, which Batchelor believed demonstrated some of the ideas set out in her talk. While watching Chignell’s work, Batchelor realised she wanted to write about it and concluded, ‘Could the movement exist without words? The words without the movement? They were entwined.’

It was a thrill to hear Batchelor speak on this topic and her comments made clear to me that, while Smith had a terrific opening paragraph or two, she didn’t really develop, as I mentioned earlier, the thoughts she had presented in the comments that followed.

As for Clement Crisp (1931-2022), his writing over many decades has been remarkable and his death is a major loss to the dance world. But I lost much of my admiration for his work when he began to use the offensive word ‘Eurotrash’ for works that did not appeal to him. (He was not the only critic to use the word, I hasten to add). I prefer to stand by the words of American writer Marcia Siegel. I reviewed a collection of her writing entitled Mirrors and Scrims and the quote below is from that review:

[She says], ‘I see myself as both a demystifyer and a validator, sometimes an interpreter, but not a judge.’ She fearlessly carries through with this stance. In an analysis of the position of the much-admired critic Arlene Croce (as understood from her reviews), Siegel writes:

‘I think a critic has to take even mavericks and crackpots at their word. In not doing so, Arlene Croce places herself above the artists. She implies she knows better than they do what’s right for dance. To my mind, that’s the one thing a critic isn’t allowed.’

There is much to think about, across many areas, as we who write about dance pursue our work.

The review of Mirrors and Scrims is at this link.

Michelle Potter, 13 March 2022

Featured image (overwritten): Jareen Wee in Liz Lea’s The Point. Photo: © Andrew Sikorski

Many Happy (re)Turns

By Jennifer Shennan

Anne Rowse is a well-known and much-loved figure in the New Zealand dance scene. Her 90th birthday was recently celebrated in style at several events in her home town of Wellington, and at a family gathering at Queenstown in the following days. London called in long-distance, as did many colleagues and former students from a global spread of cities.

Anne had early ballet training in New Zealand, continued that in London, then had a performance career with Festival Ballet between 1952 and 1960, when she danced alongside fellow New Zealander Russell Kerr. She retired from performing and returned home with husband Ken Sudell to start a family. After some years she commenced teaching and in 1979 was appointed Director of the National School of Ballet, in 1982 re-named New Zealand School of Dance to mark the introduction of contemporary dance as well as teacher-training courses.

Everyone invited to the birthday events accepted, since ‘Joyous occasions are few. We will celebrate’ (that’s a quote from composer, the late Douglas Lilburn). Perhaps they were also hoping that Anne’s renowned optimism, elegance and positivity would prove infectious, and that they might catch some of whatever she’s got.

Anne recently performed the central role in Doris Humphrey’s movingly beautiful Air for the G-String, something she has done maybe a dozen times over the years, her serenity and presence more poignant on every occasion. (Air, along with a dozen other Humphrey and Limon repertoire, was first staged by Louis Solino when he was on the faculty at New Zealand School of Dance. Anne rates it as a major coup to have appointed Solino to the staff since none of those fine classic choreographies would otherwise ever have been seen here). A number of other highly successful initiatives date back to her time at the School. It is heartening to learn that Anne is mid-stream writing her Memoirs so there will be a record of important dimensions in New Zealand dance.

Early in the week an open class of Renaissance and Baroque dance included Anne dancing a menuet-à-deux from Kellom Tomlinson’s 18th century treatise. With Robert Oliver on bass viol, and Keith McEwing as partner, she brought a striking grace to the menuet—(I here declare a very happy ‘conflict of interest’ since I set the dance). Matz Skoog (former artistic director of RNZBallet) was in the room and reference to his experience in late Baroque theatre productions at Drottningholm in Sweden gave an extra resonance to the lines and legacy we trace in ballet history—not for old time’s sake, but for future time’s sake.

Anne Rowse and Keith McEwing in *Menuet-à-deux*. Photo: © Sharon Vanesse

A few days later a large crowd of well-wishers attended an event at New Zealand School of Dance where director Garry Trinder and associate director Christine Gunn, together with present and past staff and students, acknowledged Anne’s contribution and celebrated her milestone. Other speakers included Liz Davey and Deirdre Tarrant, and The Royal Academy of Dance, itself celebrating 100 years of achievement, made a presentation of the President’s Award on behalf of Luke Rittner from London.

The junior scholars performed a piece set by Sue Nicholls, a contemporary work by Holly Newsome was danced by 1st year students, then the pas de deux from the second movement of Concerto by Kenneth MacMillan was given a flawless performance by Louise Camelbeke and Zachary Healy. The luminous choreography, to the Shostakovich Second Piano Concerto, beautifully played by Philip O’Malley, was a blessing without words.

Louise Camelbeke and Zachary Healy in Kenneth MacMillan’s *Concerto*. New Zealand School of Dance, 2021. Photo:© Stephen A’Court

The school song—E te whaea e—was given a robust rendition by all students and staff, thus ending the presentation in high spirits.

Dance … so intensely in and of the present … can equally invoke other times, places and people, their work then and now, their memories of then, and the books they write now.

Many happy returns, Anne. We celebrate 21sts, why not 91sts? See you next year.

Jennifer Shennan, 19 August 2021

Featured image: Anne Rowse, 2015. Photo: © Kerry Ferigo

A Tiwi woman dancing

… from Jennifer Shennan

Tiwi woman Gerardine Tungatalum performing a relationship dance, 1988. Photo: © Heide Smith

There are perhaps 1,000 images in the iconography I have assembled over decades from my interest in the anthropology of dance and in world dance traditions. I was encouraged in this project by my teacher, Professor Roderyk Lange, whose publications demonstrate his encyclopaedic knowledge of dance in many times and places.

Of all these images, there is one I return to again and again, believing it to be the most beautiful dance photograph I know. Taken by Heide Smith, it appears in her book Tiwi: The Life and Art of Australia’s Tiwi People, published in 1990. The caption reads ‘a Relationship dance’, which in turn reminds me of the book by anthropologist Jane Goodale—Tiwi Wives, a book containing detailed accounts of traditional indigenous dances, with particular reference to the ways that different gestures and movements of certain parts of the body are recognised as defining the relationships between a dancer and those for whom the dance is being performed on a given occasion.

In the photo a woman, Gerardine Tungatalum, stands poised on one leg, her other foot raised behind the calf of the supporting leg. Her hips are swayed to one side to counterbalance the raised foot, then the waist curves to correct, so that the upper body comes back into the vertical line, thus creating a sinuous curve that weaves back and forth across the central axis from foot to head. One arm is stretched out low to the side, the other arm bent with her hand lifted to touch her forehead. The overall impression conveyed is one of serene equilibrium, with deep involvement in the meaning and mood of the dance.

There are countless graphic images in sculpture and painting of the many classical dance traditions of India. The associated literature is possibly the most extensive and detailed analysis of a peoples’ dance aesthetics and related mythology anywhere in the world. Celebrated scholars, Dr Kapila Vatsyayan and Dr Sunhil Kothari, have both written about this trope of a dancing body simultaneously moving in and out of balance, as though in subtle defiance of gravity. I am reminded of those writings by this exquisite photo portrait of a Tiwi woman.

Heide Smith’s photograph is framed by two figures—a woman seated on the ground watching, possibly singing, possibly marking percussion on her knee, and a man who sits nearby, also watching intently. Other photographs in the book suggest they are recordings of actual situations and events, with no indication that they are being posed for a visiting photographer. It is a gift indeed to be able to capture such a sense of movement and context within a still image of a dance, and I thank Heide for it.

Jennifer Shennan, 20 May 2021

Moon Water performed by Cloud Gate Dance Theatre of Taiwan. Photo: © Liu Chen-Hsiang

Choreographing a way through lockdown. Some thoughts

by Jennifer Shennan

In all the upheavals of 2020 ̶ 21, there has been a seismic range of responses to Covid-induced constraints from dance companies, artists, entrepreneurs and media worldwide. Film-makers and videographers have engaged with choreographers and dancers as never before, and the results have been in some cases breathtaking.

Plenty of companies initially took a standard line of having dancers capture themselves on smartphones in daily work outs in their apartment kitchens and sending in the somewhat underwhelming results for their company to stream. It certainly highlighted, by their absence, the critical importance of the ballet masters’ role in the daily life of a dancer. Other companies saw the opportunity to make income from subscribers who could watch existing films of their repertoire broadcast within a limited time frame. Others again recognised with vision the unprecedented chance for what amounted to free publicity for their companies or theatres, and generously offered open viewing of works to audiences worldwide.

New York City Ballet presented several new choreographies designed for socially distanced preparation and performance, and these were screened alongside commentary and discussion with the performers. For me though the highlight was the exquisite Moon Water by Cloud Gate Dance Theatre of Taiwan, due to be performed live at Sadler’s Wells, instead broadcast through pre-existing film. It was introduced especially for the occasion by choreographer, Lin Hwai-Min, and will remain indelibly memorable, in my mind and also those of friends who took the tip I sent them to watch. Many are still thanking me months later for what they describe as the most serene and consoling dance experience they have ever known.

Two further memorable examples of dance films that have crossed my screen as Arts Channel broadcasts during the Covid era are of flamenco artists—both of them phenomenally though differently talented. Rocío Molina was the subject of a documentary, Impulso, that tracked the choreographic progress of her new work from its beginnings in Madrid, through various previews in different Spanish venues, through to its premiere at the Théâtre national de Chaillot in Paris. Molina is a wild child but her passion to live through dance burns holes in your television screen.

The other program more recently screened, again through Sadler’s Wells, is of Maria Pagés from Seville. Her company’s mid-year season in London was cancelled, so a documentary was made instead. The choreographic vision ranged from portrayals of the seasons through traditional flamenco movement, in floreo and braceo arm movements, both timeless and sinuous. As well she draws on contemporary global phenomena—such as the rise of populism, weakening of democracy, culture of bullying. There were astonishing film clips of the braying, barking oratory of Adolf Hitler, the hammering rhythms and cadences of his declamations, which were then reproduced to startling effect in the rhythmic patterns of the dancers’ stamped canes. The sophistication of choreographic vision invites us all to consider how bullying in any situation can be countered or contained. Top marks to Sadler’s Wells for bringing this stage work to the screen.

Jennifer Shennan, 10 March 2021

Backstage, Her Majesty's Theatre Melbourne, New York City Ballet tour, 1958. Photo Walter Stringer

The Four Temperaments. Some reflections

The Australian Ballet’s 2021 season will include performances of George Balanchine’s work, The Four Temperaments, a ballet that had its world premiere in 1946. Then it was performed by Ballet Society, the forerunner to New York City Ballet, in the auditorium of the Central High School of Needle Trades in Manhattan (now the High School of Fashion Industries). For an explanation of the title of the ballet see this link from the George Balanchine Trust website.

Researching the ballet, ahead of its (hopefully live) performances in 2021, has uncovered some fascinating stories, articles and recollections by those who have danced in it over the years, and about the company that first performed it, Ballet Society. According to Bernard Taper in Balanchine. A Biography, Ballet Society was ‘a most peculiar venture’ that was organised by Balanchine and Lincoln Kirstein to encourage the production of new works. It was to be an organisation that ‘would cater only to an elite subscription audience’. The press was not invited to the first production, which consisted of The Four Temperaments and Maurice Ravel’s The Spellbound Child (L’enfant et les sortilèges) as staged by Balanchine with an English translation of a text from Colette. The press, however, managed to get to see the show by ‘buying their own subscriptions’ or ‘sneaking into the auditorium on performance nights’. So began a ballet that was ground breaking then and is still remarkable today. It is more often than not described as ‘A dance ballet without plot’ (Balanchine’s subtitle), but according to Taper ‘[it] seemed to demonstrate that ballet could do anything that modern dance could do—and more.’

It was not (and is not) an easy ballet to dance. In the beginning there were the costumes to contend with. The original costumes were designed by Swiss-American artist Kurt Seligmann and were somewhat extravagant and not easy to wear. In Barbara Newman’s Striking a balance, Tanaquil LeClercq, who danced in the corps de ballet in the original production, recalls:

I had a large nylon wig that came down to about my rear end. It had a large pompadour, and it had a large white horn in the middle like a unicorn’s, which made it difficult to do all the things [Balanchine] had made. That was number one. Very irritating. You come to dress rehearsal, and if you swing your arm close to your head, suddenly there’s a horn. The other thing was that [Kurt] Seligmann had made wings, red wings, fingers enclosed, and there was no place to get out. If you got into your costume and then got something in your eye or wanted to unzip yourself to get out, you couldn’t. Once you tied your toeshoe ribbons, that was it. It gave you a feeling of claustrophobia I can’t describe. All enclosed. Not even gloves with fingers—no fingers at all. It was hideous.

The Seligmann costumes were eventually abandoned and were replaced from 1951 by simple practice clothes, black leotards for the women, and black tights and a white T-shirt for the men, which are still worn today.

Then there was the choreography. Merrill Ashley, in her memoir Dancing for Balanchine, speaks of some of the choreography she found difficult. She danced the leading role in the Sanguinic section when the work was revived for New York City Ballet after slipping out of the repertoire for some years. She writes:

There was one movement about which [Balanchine] was particularly concerned. He wanted me to step backward on pointe and then, without traveling at all, put my heel down flat on the floor and let my body fall back—without losing control. Actually the step was meant to make me look as if I had fallen off pointe suddenly, and was therefore falling back. It was very difficult, especially lowering the foot without moving the heel at all. I wasn’t able to do it right, but when Balanchine told me that no one else had ever done it correctly either, I felt a little better. Although I come closer to it now, I still move my foot as I lower my heel.

Quite recently the NYCB website published an article by NYCB’s Manager, Editorial and Social Media, Madelyn Sutton. It is well worth a read and it also contains two video snippets. Read and watch at this link.

In Australia, The Four Temperaments premiered in 1985 when the Australian Ballet was under the directorship of Maina Gielgud. The ballet was staged by Victoria Simon and appeared on a program with Balanchine’s Serenade and the first performance of Robert Ray’s The Sentimental Bloke. (It is perhaps of interest to note that in 2021 The Four Temperaments will be part of a similarly constructed program, which will also include Serenade and the first performance of a newly commissioned work from New York-based choreographer Pam Tanowitz). Later, in 2003, Australian audiences saw it on an Australian Ballet program called American Masters, which also included Glen Tetley’s Voluntaries and Jerome Robbins’ In the Night. Again it was staged by Victoria Simon. It was brought to Australia by New York City Ballet in 1997 when that company toured to the Melbourne Festival, and was last performed here by the Australian Ballet in 2013 as part of its Vanguard season. Then it was staged by Eve Lawson. I am curious to know who will stage it in 2021.

Michelle Potter, 13 January 2021

Featured image: Backstage at Her Majesty’s Theatre, Melbourne, during the 1958 tour to Australia by New York City Ballet, 1958. Photo: Walter Stringer, National Library of Australia.

(The Four Temperaments was not performed during this 1958 tour. I just like the image and my use of it reflects difficulties associated with permission to use images of The Four Temperaments. The article by Madelyn Sutton mentioned above contains some very nice images.)

Bibliography

Ashley, Merrill. Dancing for Balanchine (New York: E. P. Dutton, 1984)
Balanchine, Georg, and Francis Mason. Balanchine’s Festival of Ballet (New York: W. H Allen & Co, 1984)
Newman, Barbara. Striking a balance. Dancers talk about dancing. Revised edition (New York: Limelight Editions, 1982)
Taper, Bernard. Balanchine. A Biography (New York: Times Books, 1984)

SHELTER. Reneff-Olson Productions

The short film SHELTER, from California-based Reneff-Olson Productions, features dancers from across the world. It was made in response to the difficult situation in which performers find themselves at the moment during the COVID-19 crisis. The production company is headed by siblings Alexander and Valentina Reneff-Olson and, speaking of the making of SHELTER, Alexander Reneff-Olson said:

I wanted to bring attention to the current realities performing artists are facing during this time. Self-isolation has kept dancers from performing in conventional ways and traditional venues, but it hasn’t diminished their resilience, even in the face of these unprecedented times.

You might be surprised at the number of people who are involved in SHELTER who have strong connections with Australia and New Zealand. I was when it was suggested by a colleague from San Francisco that I take a look.

First up is perhaps Danielle Rowe, former principal with the Australian Ballet. After leaving Australia, Rowe has had a varied career, first with Houston Ballet, and then Nederlands Dans Theater and various other companies. She is now well into a career as a choreographer. Her work Remember, Mama, for Royal New Zealand Ballet’s 2018 program Strength and Grace, was reviewed on this site by Jennifer Shennan. Read that review at this link. Rowe is currently choreographing a production of The Sleeping Beauty for Royal New Zealand Ballet. It is due to open in October (provided that is a possibility given current restrictions).

Nadia Yanowsky and Paul Mathews in 'Remember, Mama', Royal New Zealand Ballet 2018. Photo: © Stephen A'Court — Nadia Yanowsky and Paul Mathews in Danielle Rowe’s *Remember, Mama*, Royal New Zealand Ballet 2018. Photo: © Stephen A’Court

For SHELTER, Rowe worked with Garen Scribner, a New York-based actor, dancer and singer, on the choreography and the casting of the dancers who appear in the SHELTER. And, as Alexander Reneff-Olson has commented, Rowe also ‘selected and assigned sections of the choreography to each dancer and provided artistic feedback as the editing progressed’.

Australian Ballet principals, Amber Scott and Ty-King Wall, also appear, as does Artistic Director designate David Hallberg. Then there are Australians who no longer dance in Australia but are busy making exceptional careers elsewhere in the world. They include Benjamin Ella, currently a soloist with the Royal Ballet in London, and Jared Wright, at present a soloist with Dutch National Ballet in Amsterdam. Royal New Zealand Ballet principal, Nadia Yanowksy, seen in the image above, is also featured in SHELTER.

The project grew from an earlier work called Hey Mami co-choreographed and performed by Rowe and Scribner in 2015. But the idea grew to include 26 dancers and, as Alexander Reneff-Olson explains:

Dani and Garen assigned specific time-codes from Hey Mami for each dancer to learn and film themselves performing, and they offered to virtually rehearse individually with any dancers who wanted to.

The individual segments were then edited by the Reneff-Olson team.

SHELTER also has some quite beautiful scenes shot on the stage of an empty San Francisco War Memorial Opera House. Alexander Reneff-Olson explains:

The city and County of San Francisco gave about a 12 hour advance warning on the shelter-in-place order taking effect, and we used some of that time to capture what footage we could of Joseph Walsh [a principal with San Francisco Ballet] in the War Memorial Opera House, the home of San Francisco Ballet.

The full video can be viewed at this link where you will also find credits and a full list of the dancers who appear.

Michelle Potter, 20 May 2020

With thanks to Kate McKinney of San Francisco Ballet for putting me in touch with Alexander Reneff-Olson, and Renee Renouf Hall for suggesting I take a look at SHELTER.

Featured image: Promotional image for SHELTER.