- Sydney Dance Company in Athens
A recent article, written by Madison McGuinness and published on 9 July 2025 in The Greek Herald, had the following two introductory paragraphs:
The Sydney Dance Company captivated a crowd of 5,000 at the Odeon of Herodes Atticus last week, performing Impermanence as part of the Athens Epidaurus Festival 2025.
Set against the historic backdrop beneath the Acropolis, the emotionally charged performance explored the fleeting nature of existence through movement and music.
The featured image on this month’s dance diary (see above) shows SDC dancers taking a ‘curtain’ call in front of that ancient building. It is the image that leads into the Herald article, an image that is credited to Australia’s ambassador to Greece, Alison Duncan, who according to the article ‘hailed the performance as a personal milestone’.
While it was excellent news to hear of the success of Sydney Dance Company, Duncan’s image from Greece reminded me of those wonderful images dating back to the 1960s showing the Australian Ballet dancing at the Baalbek International Festival in Lebanon in 1965 when, for a few nights, they performed in the precinct of the ruined Temple of Bacchus.
I remember seeing images of the dancers in Baalbek but have not been able to find any for this post. The SDC image now takes the place of those 1965 shots, for me at least.
My review of Impermanence (onstage, Sydney 2021) is at this link.
- Mandolina Ballerina (Tessa Karle)
Canberra’s Mandolin Orchestra has an interesting show coming up with the evocative title of ‘Mandolina Ballerina’. It features a Canberra-trained dancer, Tessa Karle, who currently performs with Royal New Zealand Ballet. The image below shows Karle in a recent production by RNZB, The Way Alone choreographed by one of Australia’s most admired choreographers, Stephen Baynes.
The image below is an advertising poster for ‘Mandolina Ballerina’, for which Karle has created original choreography, and in which she will perform. The music includes sections from Swan Lake and Nutcracker.
I am hoping to see the show, which will have just two performances on 16 August at the premises of Folk Dance Canberra in the suburb of Hackett. Potentially a review will follow.
- The Panov tour … a little more
After reporting in last month’s dance diary on the death of former Russian dancer Valery Panov, I went in search of a little more detail on the 1976 tour to Australia and New Zealand by Ballet Victoria in which Valery Panov and his then wife, Galina Panov, were guest artists. I was able to gain access, via the National Library of Australia, to the program for the Canberra season of the tour, which consisted of three shows at the Canberra Theatre, 21–22 June 1976.
The Canberra program began with Petrouchka, which was the major work presented across venues in Australia and New Zealand.
Petrouchka was followed by Concerto Grosso, a work choreographed by Charles Czarny to music by Handel. It had designs by Joop Stokvis and was originally choreographed for Nederlands Dans Theater in 1971 and given its Australian premiere by that company on tour in 1972. Re-choreographed especially for Ballet Victoria by Czarny it was in seven sections: Warm-up, Boxing, Tightrope, Obliquatory [sic], Skating, Football, and Karate. The Canberra program also included Jonathan Taylor’s Stars End, which was created especially for Ballet Victoria to music by David Bedford. Program notes discuss the work briefly, noting that ‘[It] depicts people meeting people … parting … ultimately everyone is alone.’
The audience also saw two pas de deux choreographed by Panov and danced by him and his wife. One was Adagio célèbre to music by Tomaso Albinoni for which program notes state:
This is a prayer to the dream inside Man. Unfortunately, life cannot keep dreams forever and tension takes the beauty of it away. Man prays to keep this dream forever but remains only with the prayer of his dreams.
The other pas de deux seen in Canberra was Harlequinade to music by Riccardo Drigo with choreography by Valery Panov ‘after Fokine’ and with input from Alexander Gorsky who choreographed Galina Panov’s variation. Program notes read that it concerns, ‘The classic involvement of the two prime characters of the commedia dell’arte, Harlequin and Columbine [in which] Harlequin pays court to the demure soubrette, Columbine.’
Programs for other cities included Les Sylphides and various other pas de deux.
- News from James Batchelor
James Batchelor has received funding from artsACT to present his new work Resonance in Canberra. Resonance, which is a response to material Batchelor has been investigating in relation to Tanja Liedtke, will open in Sydney in September before travelling to Melbourne and then to Canberra where it will play on 10-11 October.
In addition, Batchelor has been successful in an application to undertake a Master of Philosophy degree at the Australian National University (ANU). His research proposal is entitled ‘Echoes of the Expressive Dance’ and will pursue further his interest in the growth of the expressive dance technique of Gertrud Bodenwieser. The proposal earned him a full scholarship at the ANU and he will begin work on it shortly.
Michelle Potter, 31 July 2025
Featured image: Dancers of Sydney Dance Company taking a curtain call following a performance in Greece, July 2025. Photo: Alison Duncan
