Canberra dance. A professional company?

Canberra hasn’t had a professional dance company for some time now and, as Dance Week 2012 approached, an article appeared in The Canberra Times in which Neil Roach, director of Ausdance ACT, suggested that the city should aspire to have an ‘emerging professional dance company … like those already being successfully funded by the Australia Council—Kate Champion, Lucy Guerin, Chunky Moves [sic]’. Well to put it bluntly, there is no reason why we in Canberra should expect to have a funded dance company. It is not a right.

That doesn’t mean we shouldn’t aspire to one of course. Nor that we don’t want one. But Canberra isn’t Sydney or Melbourne. It’s an unusual place and those who have watched several professional companies come and go in Canberra since 1980, when Don Asker’s Human Veins Dance Theatre became Canberra’s first professional dance company, will all have an opinion as to what suits Canberra.

Anyone who knows me well will not be surprised when I say that for me the most vibrant time for dance in Canberra was 1989 to 1992 when the Meryl Tankard Company was the city’s resident dance company. The place was buzzing then—art attracts art—and if we look back to that period there is much upon which we can draw to make a case for what will inspire the Canberra population to embrace a dance company.

I have always been taken by the words of Stefanos Lazaridis, who directed Orphée et Eurydice for Opera Australia in 1993, which Tankard choreographed after she had left Canberra. He said on an Imagine program on SBS Television in ca. 1994:

The word ‘choreography’ did not apply as far as I am concerned. I wanted this dimension [of the opera] to be dealt with by somebody who has the demonic dance talent of Meryl Tankard, who is a woman of total theatre.

Tankard brought to Canberra something more than ‘just dance’. She brought that ‘total theatre’ that Lazaridis was smart enough to recognise and to declare in such a public forum. In my opinion that’s just what a small city needs. The population of Canberra at the moment is just 360,000. With that number of people, if a dance company aspires to be ongoing and viable it needs to be able to attract an audience from across the visual, literary and performing arts. A company that doesn’t aspire to attract, or isn’t capable of engaging audiences beyond the confines of the local dance community, will never make an impact.

Court of Flora. Photo Regis Lansac — Tuula Roppola as the Rose in *Court of Fora*, Sculpture Garden, National Gallery of Australia, 1991. Photo: © Régis Lansac. Courtesy Régis Lansac

Tankard was always proud that her 1989 work Banshee, shown at the National Gallery of Australia in conjunction with an exhibition of Irish gold and silver, largely Celtic jewellery, attracted a small punk audience. And I can never forget Court of Flora first staged in 1990 at Floriade, Canberra’s annual outdoor spring event. It drew large crowds, who delighted in Anthony Phillips’ spectacular costumes and in the ability of Tankard’s dancers to imbue the floral characters they represented with human characteristics. The work was repeated many times in a variety of Canberra venues between 1990 and 1992. Marion Halligan wrote about Tankard’s work. The Embassy of France and the Goethe Institute in Canberra supported the company.

But what was also interesting about those years was that Tankard and her partner in art and life, Régis Lansac, embraced the Canberra community, its institutions, its landscape and its resident artists. They lived in the city. Lansac exhibited his photographs with other local artists. Tankard made a short film in the Federal Highway Park Quarry just out of the city. Lansac incorporated photographs of a local landmark, Mount Ainslie, in projections that accompanied Two Feet. Lansac received a Canberra Critics’ Circle Award for ‘his constant searching for, and discovery of, new frontiers in stage design’. And ultimately Tankard was made ACT Citizen of the Year in 1992 for having ‘brought the arts in Canberra to both national and international attention’ and for ‘enriching [Canberra’s] reputation as one of great diversity and creativity’. It was a heady time for dance in the ACT and one that has not been equalled since in my opinion.

So yes, I too would love there to be a professional dance company in Canberra. But I don’t think it should be an experimental, contemporary company with interests that attract only a minority of dance aficionados. Leave that to larger cities. Canberra needs a dance company that the wider community can feel belongs to Canberra, not just to dance.

Michelle Potter, 28 April 2012.

Jacob’s Pillow

In 2007, during time spent working in the United States, I had the pleasure of being invited to the Jacob’s Pillow Dance Festival to sit on a panel with Gideon Obarzanek, whose company Chunky Move was showing his very popular I want to dance better at parties at the Pillow that year. You can just see us in the top left image (left to right: the presenter, Obarzanek and myself)) in the background over the heads of the audience, a good sized one and one that was definitely interested in the state of dance on the other side of the world.

The session was part of the Pillow’s ‘Pillow Talk’ series held regularly during the Festival on the deck space of the beautiful red barn known as Blake’s Barn. The 18th century barn, seen in the image below, was a gift to the Pillow from the American dancer and choreographer Marge Champion and named in memory of her son Blake. It was moved from its former location in Stockbridge, Massachusetts in the 1990s. Blake’s Barn is just one of the lovely buildings on the Pillow site in the stunning countryside of the Berkshire Hills in Massachusetts. The Doris Duke Studio Theatre and part of the outdoor area are pictured below the Blake’s Barn image.

I have been reminded of the occasion of the Pillow Talk, and of the Pillow itself, several times recently while watching (from afar) the program for 2012 take shape. This year Australia is represented by the Brisbane-based circus arts ensemble, Circa, and by Stanton Welch. A brand new work from Welch will be presented by the Joffrey Ballet of Chicago.

The Pillow has extensive dance archives, also housed in Blake’s Barn, and the section of its website called ‘Jacob’s Pillow Dance Interactive’ is a model for making archival film clips accessible to all. Many hours can be spent watching these little snippets of dance. Here are links to two, vastly different in style and indicative of the broad approach of the Jacob’s Pillow Dance Festival: the irrepressible Twyla Tharp in a community-style undertaking in 2001; and Cynthia Gregory, with her beautifully expressive port de bras—such a sweep through space—in a re-creation in 1982 of a work by Ruth St Denis. The still images at the end of each clip are often outstanding shots too.

Michelle Potter, 20 April 2012

Do you know Swan Lake?

Last week I interviewed designer Hugh Colman for the National Library of Australia’s oral history program. Colman is currently working on designs for the Australian Ballet’s new production of Swan Lake, due to open in Melbourne in September and, while Swan Lake did enter into the conversation, Colman was appropriately discreet on the recording about those aspects of the production, including his designs, which are not yet public property. But the discussion that did develop set my mind racing.

In 2004 I was invited to write a program note for the second season of Graeme Murphy’s Swan Lake. The brief was that it was not to be so much about the Murphy production but about the popular appeal of the ballet. I loved writing this piece. I called it ‘Do you know Swan Lake?’ after the question, with its suggestion of what to do if the answer was yes, that was occasionally bandied around in schoolyards several decades ago, and that my father also loved to use to tease his daughter.

If I were writing the program piece now I would probably use other examples of how Swan Lake has permeated the popular imagination. There is a recent episode of that English detective series for television Midsomer Murders, for example, which is loosely based on Swan Lake. It features a (fictitious) former Russian ballerina preparing ballet students for a concert in a local church hall. And what are the students rehearsing? Why ‘Dance of the Little Swans’ of course. And the story reaches its high point when the former ballerina is rescued in the nick of time from following in the footsteps of Odette and being drowned in Swansdown Lake by the ‘perp’, as culprits are called in these kinds of shows. Not exactly great drama, but nevertheless it works on the assumption that the general audience for television knows Swan Lake. Then of course there’s The Black Swan, the movie, not great drama either in my opinion, but it has spawned a large amount of web comment from so many, from dancers to psychiatrists and of course the general public.

The question of popular appeal has been brought to the fore once again, in Melbourne only at this stage, with Gideon Obarzanek’s latest work There’s definitely a prince involved reviewed elsewhere (with comments) on this site. Not everyone enjoyed the deconstructivist approach that Obarzanek took, but there’s no denying that There’s definitely a prince involved deals with that mysterious attraction that Swan Lake has over the public.

What is it about this ballet that continues to fascinate? And I continue to search in my mind for the production that most clearly captures the essence of the work for me. Perhaps that is yet to come, and perhaps that is what continues to fascinate.

Miranda Coney in 'Swan Lake' — Miranda Coney in *Swan Lake*, the Australian Ballet, 1991. Photo: Don McMurdo. Courtesy National Library of Australia

Michelle Potter, 10 March 2012

Here is the link to my 2004 program article. I have not been able to find contact details for the photographer, Michael Cook, whose photograph appears with the article. I would be pleased to hear from anyone with information that might assist.

Don’ts for dancers

My preview of Don’ts for dancers, a new work by Canberra-born artists Nerida Matthaei and Nicole Canham appeared in The Canberra Times on 18 February under the title ‘Dancing to a different beat’.

https://michellepotter.org/news/bolero-meryl-tankard-regis-lansac

It is not often that Canberra-born artists working in a professional environment get the opportunity to premiere their latest works in the city; Canberra has its particular difficulties that often prevent this happening. So it is a thrill to see Matthaei and Canham having an opportunity to show Don’ts for dancers in their home city before it travels to Brisbane and Cairns later in March.

The little book that inspired the work is a gem. The name of its author, Karsinova, must surely be an allusion to a dancer of considerable repute and at the height of her fame as a performer when the book was originally published—Tamara Karsavina?

Michelle Potter, 19 February 2012

UPDATE 7 August 2020: As the article is no longer available online, I am adding it below.

Choreographer and performer Nerida Matthaei and her step-sister, musician and self-styled polyartist Nicole Canham, are in the final stages of creating a new multi-media dance work. Matthaei and Canham direct separate cross arts companies that engage in experimental projects. Matthaei directs Phluxus2, a dance collective based in Brisbane; Canham directs Polyartistry, which recently collaborated with the Historic Houses Trust on a project relating to Sydney’s Hyde Park Barracks Museum. So it doesn’t seem surprising that their new joint work is about crossing boundaries and breaking rules, nor that it is inspired by a miniature book with the intriguing title of Don’ts for dancers.

First published in 1925 and republished just recently, this tiny manual was written by a mysterious author with the single name, Karsinova. It is a set of rules and restrictions for how dancers, men and women, should behave. Its instructions are designed largely for the benefit of those engaged in the kind of social dancing popular with a certain class of people in the 1920s. The instructions focus on dances such as the waltz and the tango and the book recalls the period when a dance hall was the fashionable, and proper, place to meet one’s friends. In fact the book exhorts its readers to frequent the dance hall and beware of ‘shady establishments’ that might be ‘mere shelters for the sale of intoxicating liquors during prohibited hours’.

Some of the instructions are technical, and amusingly so, ‘Don’t dance with bent knees. Bent knees suggest an ancient cab-horse on its last pathetic stagger, or a performing chimpanzee gyrating round its keeper.’ Others concern fashion on the dance floor, ‘Don’t overload yourself with jewellery, particularly with dangling pendants or strings of beads that are likely to float around as you dance and catch in other people’s dresses.’ Still others concern manners, ‘Don’t lose your temper if you find your partner is not the ideal dancer. Should he, or she, be timid and inexperienced, be content with simple steps.’

Matthaei and Canham found the book irresistible, and not just for its entertainment value. For Matthaei there was a certain fascination in the very specific and often quite extreme ways that the book’s author suggested the body should move. For Canham, who says that as a classically trained performing musician she is often bound by a score, the book raised interesting questions about the benefits of breaking the rules. It generated thoughts of whether or not a score is a constraint, ‘The practice of a musician not embellishing the score is only a recent innovation,’ Canham says.

The work itself, also called Don’ts for dancers, is a piece for four performers. In addition to Matthaei and Canham, who dances as well as directs the musical component, performers Leah Shelton and Alex Bryce take the stage. Shelton is also responsible for the costumes, which she has designed to reflect the 1920s but to have a modern edge. Don’ts for dancers was workshopped during two international residencies in 2011, one in France with Compagnie au cul du loup, and one in Ireland at the Firkin Crane in Ireland. ‘We wanted a good period of development for this show,’ Canham says. ‘Developing a work across art forms is complex and time consuming.’

Matthaei says her challenge was to develop a dance vocabulary for the show that would reinterpret the 1920s style of moving as explained in the book in a manner that was consistent with her contemporary style and choreographic process. She regards the work as an installation with physical theatre elements. ‘It should be like going into a dance hall,’ she says. ‘And we will be incorporating text from the book and, as the book talks about not being afraid to dance, we will be looking at ways to incorporate the audience into the show.’

And indeed the book, with its pretty violet-coloured cover, has a section called ‘Don’ts for the diffident’ with one exhortation reading, ‘Don’t imagine you will never make a dancer because you are by nature clumsy. Dancing will cure you.’

Canham, a self-confessed ‘shoe-a-holic’, found the book at Heathrow airport when forcing herself not to enter the shoe shop next door to the bookseller. For her the book, while a text, was not a score. On the one hand it took her mind off the shoes she might have bought, on the other she could see its potential for a joint show with Matthaei, one in which her musical input need not be restricted by a score. “The show is eclectic musically speaking,” she says. ‘I am using 1920s music, music from the present day, improvised music. I’m taking a curatorial approach.’ Both Matthaei and Canham grew up in Canberra and received their performing arts training from a range of institutions in the city. It doesn’t often happen that Canberra-born professional artists are able to premiere their latest productions in their home city so it is a significant move that Don’ts for dancers will indeed premiere in Canberra before going on to seasons elsewhere

Paul De Masson (1953‒2012)

Some recent correspondence with a colleague in the United States highlighted in my mind the breadth of Paul De Masson’s international career and the fact that we often fail to recognise and acknowledge the role overseas experiences play in the careers of our artists. As a tribute to Paul’s varied activities in Australia and elsewhere, I have extracted just a few brief snippets from the oral history interview I recorded with him in Melbourne in July last year. The extracts are randomly selected from an interview that contains many other thoughts and ideas on a range of matters.

I have taken some liberties in putting together these short extracts as the spoken word, when transcribed verbatim, does not always lend itself to clear, readable text. Oral history is always better when it is listened to rather than read from a transcript. This is especially so in the case of Paul’s interview as his speech was colourful and peppered with many untranslatable noises to indicate various dance movements, the whipping of the head as one does a pirouette, for example. It also contains a range of different voices depending on which of his colleagues Paul is speaking about.

Paul’s interview (TRC 6328) is held in the Oral History and Folklore Collection of the National Library of Australia.

On Kiril Vassilkovsky, an early teacher in Perth
Kiril’s classes were very fast, lots of batterie ’cause he was very small. He used to do lots of pirouettes in class and lots of beats. And he used to dress for class. He used to wear a vest and trousers and shoes. He had special shoes made, very soft leather shoes. And they were plaited leather and special on the instep so he could point his foot. They had a heel ’cause he was small and he wanted to be taller. And so he demonstrated all these steps in a suit and tie. And he had immaculate nails. I noticed he was always manicured. His classes were very fast. And I’m not joking, Kiril taught me to do ten pirouettes.

On taking class with Roland Petit’s Ballet national de Marseille while on tour in that city with Disney on Parade
So I did class and I remember Roland stood right in front of me. He always did class every morning, at least the barre. And he always wore white. He had a bald, shaved head; I think he shaved it for a production he was doing. And there he was, right in front of me, and looking. I didn’t know it was Roland Petit, I didn’t know it was the director. And I remember everything was white, the shoes, the socks, the leg warmers. And he had a white dressing gown and a white towel. The afterwards they said to me ‘The director would like to see you.’ And so I went into this room and I was in shock. It was the same guy. And he said: ‘Well we are interested in you as a dancer. Do you want to come and join us?’

The follow-up story of Paul’s first few months with this company is particularly interesting.

On making up for the role of Quasimodo in The Hunchback of Notre Dame for the Australian Ballet
They’d had all these people from the film industry come in but they made all these plastic, silicon things. It didn’t work for the ballet because every time you did a pirouette it all flew off. So I designed my own make-up, which was basically Elastoplast and cotton wool. I put cotton wool and then stuck it down with Elastoplast, then more cotton wool then more Elastoplast. And it took me a long time, putting the cotton wool in the right place and then putting a make-up base on top of all that, filling in the cracks, and then using a brush to draw a face on that. But it was fantastic because it never moved and it was light.

It was this make-up that De Masson tore off in front of Peter Bahen, administrator, when the infamous Australian Ballet strike began.

On dancing in Romeo and Juliet with the Australian Ballet
[Maina Gielgud] put me to do Romeo, Mercutio and Tybalt all in the same season in Sydney. Every second night I was changing, doing one or the other, which I found fantastic. I loved doing Mercutio, which was my premium role. Then when I got to do Romeo I thought that was fabulous, to actually have a chance to do Romeo. Then I couldn’t wait to get my hands on Tybalt. To do all three, and be different in all three, that was the challenge. But the other challenge was reversing all the sword fights. It was like sometimes I didn’t know who I was. I’d turn around and … but I managed. I got it done.

On his role as ballet master with the Australian Ballet
I used to love coaching, mostly the dramatic side of things. I think I was much better with individual rehearsals—principals and soloists—than I was with big corps de ballet work. Although now, now over all these years having worked in other companies as ballet master, I can handle that quite well now and I actually enjoy it a great deal. But I wasn’t enjoying it at first. I was much more comfortable with just a couple. But the highlight is sitting there and seeing the outcome. Just seeing the progression of the dancers, going from no idea of a role and then, after you’ve given them everything you could possibly give, them, seeing it suddenly click, seeing something happen. Sometimes it doesn’t happen and it’s disappointing. Then you have to find another way of explaining it. But the high points were watching achievements, getting people to act in a certain way.

On working with John Neumeier
It was fantastic working with John. It was exhausting because he is very demanding. And I had to learn a whole new repertoire, most of it John’s but not all. He did bring in other ballets and he did his own version of Giselle. He asked me basically to teach the principals the whole ballet. And then he tweaked it and put things in—like the entrance of Albrecht in Act Two. He made that into a contemporary solo, which really worked well.

Then he asked me to put the mad scene together very quickly for a Sunday chat with the audience. He was always giving you something to do, and involving you in the choreography. He had the Wilis screaming in Act Two because he had the Adam score and it said ‘Wilis enter, screaming hysterically’. He’d taped them first in the studio. And they came in screaming as they were doing the steps. And he did beautiful things like in the pas de deux in Act Two he had the Wilis standing along the side but instead of just being there rigid all the time, every now and again one would just drop her arms and look. And another would just go to her knee and cry. Towards the end of the pas de deux you noticed that everyone was in a different position. And one was quietly sobbing. It was very subtle. It was very nice.

On Singapore Dance Theatre
Soo Khim Goh [artistic director of Singapore Dance Theatre] liked the Western classical style of dancing and also the contemporary Western style but she was also very clever in keeping the Asian blend in there. It’s an Asian company. She got a wonderful choreographer from Indonesia, Boi Sakti, who did a full evening length piece called Reminiscing the moon. The stage filled with water, lights were floating, it was a whole journey watching this work. And she brought two or three different choreographers from Japan and China.

With my friendship with Roslyn Anderson we managed to get Jiri [Kylian] to let us have Stamping Ground for a month, or two months at a time rather than on a two or three year contract. Just because he knew we were a small company. And Ros loved coming to Singapore. But the one that I was really pleased to get was Forgotten Land. And we had Ohad Naharin, a lot of international choreographers.

And Jean-Paul Comelin came and we did his Giselle. We used students from the Central Ballet of China so we could do it because the company was only 21 dancers and we could bring it up to 30. The company always looked really professional. Sakura [his wife and dancer with the company] and I look back on it as being a really pleasant experience. We had a great place to live and just living in Singapore was really nice although it was sometimes a little bit warm and muggy. We were so close to everything. Half an hour to Phuket, well Krabi was our favourite. Or Sakura could go home to Japan, only five hours. Even Europe was only 12 hours away. So very good position.

Paul’s thoughts about Singapore Dance Theatre following Soo Khim Goh’s departure are a little different.

Final words
I don’t bear any grudges against anyone for anything that’s happened in my career. It’s always been a pleasure everywhere.

Michelle Potter, 14 February 2012

Follow this link to a list of the oral histories I have recorded over the past decades. Unless otherwise indicated all have been conducted for the National Library of Australia and are held in the Library’s Oral History and Folklore Collection. Further cataloguing and access details (some are available online) can be found on the National Library’s catalogue.

UPDATE February 2025: A more recent list of the oral histories I have conducted (arranged alphabetically) is at this link.

Yugen and accidental discoveries

In a recent post I recorded some notes about the Australian Ballet’s 1965 production of Robert Helpmann’s ballet Yugen. I was interested in the design for the production and that the costumes were designed, and some made, at a distance.

yugen-parasols — Artists of the Australian Ballet in *Yugen*, 1965 or later. Photo: Walter Stringer. Courtesy National Library of Australia

On the other hand, local people made other elements of the design, especially the headdresses and, I have since discovered, probably the cane props that were used in the ballet. These latter items were made, it seems, by a Melbourne-based, probably Chinese artisan. I recently came across a design for a golden tree by Kristian Fredrikson for a production that I have not yet been able to identify. On it there is a note scribbled in pencil, which may or may not refer to the tree and which says ‘Chinese shops in Lit[tle] Bourke [Street] near Swanston [Street] (Yugen) Australian Ballet – sea capes (man who did cane work)’.

But even more interesting material relating to Yugen surfaced accidentally while I was searching through some other archival material. I came across a collection of correspondence from late 1964 between William (Bill) Cronshaw, Geoffrey Ingram and Noël Pelly, then business manager, administrator and publicity manager respectively of the Australian Ballet. The letters and memos I came across concerned the design commission for Yugen. It seems that the original commission went to South Australian artist Lawrence Daws, not Desmond Heeley whose work we eventually saw on stage. Although there is no commissioning letter, and so far no designs by Daws have come to light, a letter written in early December from Cronshaw to Ingram states, ‘I received today a plot plan from Lawrence Daws on the design he has submitted to Helpmann, though this, of course, is dependent on his approving the designs.. There follows a discussion about costing the designs and a note that Bill Akers had some doubts about their viability from a practical point of view.

Two weeks later a note from Pelly to Ingram states that Pelly was enclosing a second print of the promotional brochure, which Pelly says ‘contains no reference to the designer of “Yugen”.’ The brochure is not included with the letter in this case but it seems obvious that in the end Helpmann did not approve the designs by Daws. In a postscript to the letter Pelly notes that he and Peggy van Praagh had had a drink with Daws and his wife in Adelaide a day or so before Pelly sent the letter. Pelly went on to say that Daws ‘seems to have taken the matter extremely well but is acutely curious as to his replacement!’ Three days later, on Christmas Eve 1964, a memo from Stefan Haag of the Australian Elizabethan Theatre Trust to Cronshaw, van Praagh, Akers and Ron Sinclair, notes that the designs for Yugen would be despatched from London ‘next weekend’. A somewhat rapid piece of design work from Desmond Heeley it seems, unless, of course, Helpmann never intended to accept the Daws designs.

Lawrence Daws had spent a large part of 1964 travelling in Asia, including in India, Cambodia, Thailand and Malaya. He returned to Adelaide later in 1964. How the commission for Yugen came about is unclear at this stage and the artist has not been willing to comment.

Not all the reviews of the eventual production of Yugen were positive. Andrew Porter, writing in The Financial Times after the work was shown in the United Kingdom in 1965 wrote, for example, ‘It is a piece of japonaiserie with screens and fans and parasols, and a Noh plot.’ In Australia it was compared by one critic (a little unfairly I think) to ‘a highly refined Japanese Ziegfeld Follies’ and I can’t help thinking that Daws, whose work is introspective rather than decorative, simply did not fit the overt theatricality Helpmann demanded in his works. As Cheryl Stock has written in an article in Brolga in 1996, for Helpmann ‘style and image, the spectacle and the dramatic took precedence over form and structure’; and perhaps it might also be added over any kind of deeply thought through approach.

© Michelle Potter, 9 February 2012.
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Cinderella by two: some thoughts

West Australian Ballet’s Cinderella, newly created this year, had a season in Canberra in November and its popularity was such that an extra show needed to be scheduled. I had certain expectations, having spoken previously to the artistic director of WAB, the choreographer and the designer before writing a preview piece for The Canberra Times. All spoke eloquently about the process of creation and their aspirations for the piece.

But when it came to the performance itself I have to say I was heartily disappointed. While I enjoyed the design by Allan Lees, which set the work in the 1930s, I thought the choreography, by Jayne Smeulders, was scant and quite simplistic. There were many moments when the stage (and I’m talking here about the much-maligned stage of the Canberra Theatre, which is reputed to be too small for the larger kind of ballet production) seemed positively empty of dancing. Not only that, or perhaps because of that, the dancers rarely looked as though they were full-scale professional dancers.

Wherever I have worked in my journalistic dance writing life to date there has always been a policy in place that the person who writes the preview does not write the review of the same piece. My experience with WAB’s Cinderella hammered home the sense behind that policy. But seeing this Cinderella made me wonder about another newly created Cinderella, that by Meryl Tankard for Leipzig Ballet. It opened in Leipzig on 5 November.

Unfortunately I have neither spoken to Tankard about the work nor seen it but the web at least allowed me to catch a glimpse of some images, a bit of footage and snatches of an interview with Tankard about the work. I was interested in Tankard’s answer to a question posed to her by Maeshelle West-Davies from the Leipzig Zeitgeist about why she chose Cinderella and what she thought she could bring to the work. Part of her reply said:

‘Since I am quite used to spending a lot of my time on long trips to and from Australia, I decided to use this experience in Cinderella. The story begins in an airport with Cinderella, and the very ‘glamorous!’ sisters, travelling to an exotic location for a huge party hosted by a wealthy prince. A lot of the scenes will be in ‘hotel rooms’ and the garden scene has been influenced by Sydney’s beautiful botanical gardens. I would like the audience to feel as if they have also been on big trip!’

As thought-provoking too was her reply to a question concerning her process, which seems somewhat different from her process with many of her works made in Australia:

‘I had to be very well organised for Cinderella. I didn’t get much time with the dancers, as they were rehearsing a lot for other productions. I also had to make a lot of decisions about editing the music very early on, so I had to have a clear structure before I began working with the dancers. Since Cinderella is a very well-known story, I had to come up with a new and original way to tell the tale. I approached it as if I were planning a film and storyboarded all the scenes before I arrived in Leipzig.’

A trailer available on YouTube gives a glimpse of the choreography and the design, including the kinds of projections we have come to recognise as signature Tankard/Lansac. Some of the lighting and projections reminded me of sections of Wild Swans, which is not a bad thing in my opinion. I often ponder how Wild Swans the ballet has pretty much slipped from view whereas Elena Kats-Chernin’s delicious score, or parts of it, are heard often. Such is dance I guess.

It seems unlikely that we will see Tankard’s Cinderella in Australia, at least not in the near future. It sounds and looks (at least from a brief glimpse) as though it might be an engrossing take on the fairy-tale. But am I falling into the same trap as I did with WAB’s Cinderella? Such are expectations.

Michelle Potter, 4 December 2011

Kristian Fredrikson. ‘What’s in a name?’

The work of Kristian Fredrikson is currently the subject of an exhibition called Bedazzled, which opened at the Dowse Art Museum, Lower Hutt, New Zealand, on 26 November 2011 and which runs there until 4 March 2012. After reading publicity for this exhibition, it is clear to me that there is a compelling need for a number of misconceptions about Fredrikson’s early life to be corrected.

The main issue concerns Fredrikson’s name. At the time of writing this post a number of online sources, including the website Australia Dancing to which a number of other sites have posted links, and from which others have harvested material or used information on it in some other way, maintain that Fredrikson was born Kristian Adrian Sams and that he later changed his name to Kristian Adrian Fredrikson. Some obituaries published in Australian newspapers and now available online for all to read do the same. It is simply not so. My recent research into the career of Fredrikson reveals otherwise.

Fredrikson was born Frederick John Sams and was at least the third generation in the Sams family to carry the first name of Frederick. His early reviews written for New Zealand newspapers were signed ‘F. J. S.’ and it was not until 1962 that he took on the name Kristian Adrian Fredrikson. One signed early drawing I have seen indicates that he was playing around with the spelling of Frederick, his given first name, while probably a teenager. But the name change to Kristian Fredrikson happened around the time he was designing his first theatrical work, A Night in Venice. That work premiered in 1962. There are also indications that at least one review he wrote shortly after the premiere of A Night in Venice was signed ‘K. F.’

The second ‘fact’ that is constantly and erroneously perpetuated is that Kristian Fredrikson was the son of a Danish merchant seaman. He wasn’t. His father, Frederick Spencer Sams (1910-1996), was not a Dane but a New Zealander. His grandmother, Ann Sams (nee Munro), was also a New Zealander and his grandfather, also named Frederick Sams, was Australian. As for the occupation of merchant seaman, in 1938 when he was 28 Frederick Spencer Sams’ occupation was mentioned in a New Zealand newspaper as ‘seaman’, although when he took up this occupation and how long it lasted is unclear at this stage of my investigations. It was probably not for an extended period of time and certainly wasn’t a long-term career. He married early in 1940 and in May of that year, before his first son was born, there is clear evidence that he was unemployed.

There is still much to learn about the early life of the man we have come to know as Kristian Fredrikson but he was not born Kristian Adrian Sams and he was not the son of a Danish merchant seaman. All sources, even the web and newspapers, and even Fredrikson’s own oral history interview, are not necessarily accurate. Kristian Fredrikson was intent on creating a persona for himself that did not entirely reflect the circumstances of his early family life.

Stanton Welch. ‘An Aussie in Houston’

A recent visit to the United States saw me in Houston, Texas, where I was able to have a look at Houston Ballet’s new premises and enjoyed being shown around by Stanton Welch. And there is more than one Aussie at Houston Ballet these days. Below is the text of a story published on 26 November 2011 in The Canberra Times under the heading ‘An Aussie in Houston’.

Stanton Welch in rehearsal. Photo: © Bruce Bennetts. Courtesy of Houston Ballet

— Stanton Welch is in a buoyant mood as he shows me around Houston Ballet’s stunning new home in downtown Houston, Texas. Melbourne-born Welch has been artistic director of Houston Ballet, the fourth largest ballet company in the United States, for eight years. The company moved into its six-storey headquarters in February of this year and the new studios—nine of them—are huge with high ceilings and lots of windows letting in the beautiful Texan light. In some, children are taking a ballet class. In others, company members are rehearsing for the forthcoming production of the Christmas classic The Nutcracker and for the annual gala, Jubilee of Dance. The building hums with activity.

Welch, a young-looking 42 year old, is the elder son of Marilyn Jones and Garth Welch, former principal dancers with both the Borovansky and the Australian Ballets. Both also worked with Sydney Dance Company and both are teachers of renown. Their second son, Damien, retired quite recently from his position as a principal dancer with the Australian Ballet. Together the four of them are familiarly called the “Royal Family of Australian Ballet” such is their collective status in the Australian dance world. Damien is also currently in Houston to stage his brother’s production of Cinderella for Houston Ballet next year. And indeed the month of November is something of a family time. Jones is also visiting. “Mum comes over a couple of times a year. I usually try to get her to do a bit of teaching while she’s here,” Welch says with a grin.

Welch was a late starter in the ballet world: he took his first lessons only when 16. But there was no looking back after that. He choreographed his first piece, Hades, during the first year of his dance training in 1986 and it won several eisteddfod prizes. By 1989 he had joined the Australian Ballet and in 1990 received his first choreographic commission, which resulted in A Time to Dance for the Dancers Company of the Australian Ballet. He went on to make his first major piece, Of Blessed Memory, for the main company in 1991. By 1995 he was a resident choreographer with the Australian Ballet and remains so, from a distance, to this day. The extent of his choreographic output by now is remarkable and includes works for major companies around the world. He was appointed artistic director of Houston Ballet in 2003 and for the moment he seems firmly entrenched in Houston, largest city in the state of Texas.

“What I love about working here”, he says “is that the dancers are so energised. There is absolutely no complacency. We are so lucky with audiences too. They are very adventurous and brave when it comes to new work, which is great for a choreographer. Our subscriptions continued to grow even during the recession.”

But as I look into the studios from the viewing windows I am struck by the fact that there are Australians in a number of the studios. Ballet master Steven Woodgate is busy rehearsing a large number of dancers for a group scene in Nutcracker. A Churchill Fellowship awardee for 2000, Woodgate retired from the Australian Ballet, where he was senior artist for several years, and took up the position of ballet master at Houston in 2004, the year after Welch’s arrival.

In another studio Luke Ingham, who grew up on a farm in Mount Gambier, South Australia, is rehearsing for his first princely role, that of the Prince in Nutcracker. Ingham has been with the company since July 2011 and has just toured to New York with Houston Ballet where he also took the opportunity to catch up with four of his former Australian Ballet colleagues. They were in New York to dance and promote the Australian Ballet’s New York visit in 2012.

Ingham will be dancing in Houston’s Nutcracker with his partner in life Danielle Rowe, a former Australian Ballet principal who joined Houston Ballet early in 2011. He is looking forward to the occasion. “It’s great to work with someone you love,” he says. “I love being out there on stage with Dani.”

In her relatively short time in Houston to date Rowe has already made a name for herself. A dazzling dancer and winner of a 2010 Helpmann Award as best female dancer in a dance or physical theatre production, Rowe has so far danced leading roles in Houston productions of two major classics, Sleeping Beauty and Giselle. In Giselle, a production staged by yet another Australian artist, dancer and coach Ai-Gul Gaisina, critics spoke glowingly of Rowe’s performance as “gossamer-spirited.” and noted that she moved like “a tissue in a breeze.”

There have been Australians in the Houston company for a while. Mary McKendry, who was brought up and learnt to dance in Rockhampton, Queensland, was a principal dancer with Houston Ballet in the 1980s when a young man from Mao’s China defected while on an exchange visit to Houston Ballet. His name was Li Cunxin and McKendry eventually married him. They moved to Australia where Li would go on to have a stellar career with the Australian Ballet, write his best selling autobiography Mao’s Last Dancer and eventually become a stockbroker in Melbourne. Li often returns to Houston and did so earlier this month to be honoured for his achievements by the Houston-based organisation Dance of Asian America.

Danielle Rowe and Simon Ball in Ben Stevenson’s *Sleeping Beauty*, 2011. Photo: © Ron McKinney. Courtesy of Houston Ballet

What is it that draws Australian dancers to Houston Ballet? Welch believes that it is the varied repertoire that the company offers. His dancers get the opportunity to perform in works that he creates himself, works by acclaimed American and European choreographers and both old and new takes on the classics. Danielle Rowe suggests the same. Along with a positive work ethic, it was what she was looking forward to most of all when she left the Australian Ballet for a new career in Houston. Ingham couldn’t resist the thought though that, with his farming background, there might be the added attraction of the Texan cowboy culture! But whatever it is, the vibes are good at Houston Ballet. Welch strides through his new domain laughing and joking and generously accommodating my every request.—

And in addition to those Australians mentioned above, former Australian Ballet dancer Andrew Murphy is an instructor at Houston Ballet’s academy. Murphy is married to Sabrina Lenzi, ballet mistress of Houston Ballet II, a company similar in outlook and mission to the Australian Ballet’s Dancers Company.

Michelle Potter, 26 November 2011

Vicki Attard. A new role

It was a real pleasure catching up, if only by email, with Vicki Attard, former and much admired principal of the Australian Ballet during the 1990s. Vicki was in Canberra over the past weekend to give master classes at the Canberra Dance Development Centre.

Below is the text of a Canberra Times article I wrote, which was published on 9 November. It was accompanied by a great image, shot by Canberra-based photographer Ross Gould, of Vicki in what became a signature role, that of Cio Cio San in Stanton Welch’s Madame Butterfly, which can be accessed on the National Library’s website.

Vicki Attard was one of Australia’s favourite ballerinas during the 1990s. As a principal artist with the Australia Ballet throughout that decade she danced leading roles in all the best known classics as well as creating roles in contemporary works. She travelled widely with the company and counts amongst the highlights of her performing career dancing the leading role of Kitri in Don Quixote on the opening night of an Australian Ballet season in Washington DC and the title role in Manon in Tokyo, also on opening night.

Fans of the film maker Paul Cox may remember her in Cox’s film The Diaries of Vaslav Nijinsky. Attard was the girl returning from a ball who dances with the spirit of a rose in the short work entitled Le Spectre de la rose. Spectre was first performed in 1911 with Vaslav Nijinsky dancing the Rose. Attard, who was partnered by David McAllister in the film, cannot speak highly enough of Cox.’Paul Cox was so easy to work with’, she says. ‘He has an incredible respect for artists and he is a remarkable one himself.’

Attard also spent a year performing with Sydney Dance Company in 1989. Memorably she danced the role of Chloe in Graeme Muphy’s Daphnis and Chloe. She seemed especially suited to Murphy’s choreography and later, on rejoining the Australian Ballet, danced the leading role of Clara the Ballerina in Nutcracker, again partnered by McAllister, with whom she enjoyed an exceptional artistic partnership throughout her career.

But Attard may well be best known for her performances as Cio Cio San in Stanton Welch’s production of Madame Butterfly, a role she created with the Australian Ballet in 1995. The delicacy of her performance left a lasting impression on those who saw her in this role. Attard has since staged Butterfly around the world for Welch, including in Canada for the National Ballet of Canada, in Atlanta for Atlanta Ballet, in Boston for Boston Ballet and in even in Houston for Houston Ballet where Welch is currently artistic director. Most recently she assisted Welch in reviving the work for the Australian Ballet in 2010.

After she retired from performing Attard gained a graduate diploma in dance instruction and has been teaching in a freelance capacity since then. She now heads up a special program at Academy Ballet in Sydney for students aiming for a professional career.

‘It is s small group of just eight students’, she says. ‘It’s very personal and I love working in this way. The young dancers respond beautifully to this way of working.’

Attard will be in Canberra on November 13 to conduct master classes for the Canberra Dance Development Centre. It is the final session in the school’s master class series, a program master-minded by the school’s principal, Jackie Hallahan. Attard knows that it is not so easy for east coast students in centres outside Sydney, Melbourne and Brisbane to have access to the kinds of experiences available in larger centres.

‘I love the idea of sharing the knowledge that took me so many years to accumulate—the hard way’, she says. ‘I very much enjoy teaching in centres where students don’t have access to all that students in bigger cities might have. I grew up in a small town called Mackay in North Queensland, so I remember what it was like.’

Attard will bring her exceptional professional experience to Canberra for this workshop series. Not only does she have sound dance knowledge and her own incomparable artistry to share, she has recently launched a program called My Pointe. She realised that it was not always possible for dance teachers to spend as much time as was needed on the specialised teaching of pointe work for girls and so began to develop a series of tutorial exercises for this very purpose. After 10 years of fine tuning My Pointe was released on DVD with an introductory section by Attard and demonstrations of the exercises by two students.

Attard has two young sons, George aged eight and Nick almost six, who keep her busy.

‘I used to think that a dance life was hard,’ she says, ‘but motherhood, plus working almost full time, rivals it.’ But despite the claims of motherhood, Attard has carved a new niche for herself in the Australian dance world and she is more than delighted to be sharing her knowledge with the Canberra community.

Michelle Potter, 14 November 2011