‘Once a dancer, always a dancer’ is a phrase that springs to mind when looking at how David McAllister is managing retirement after serving for two decades as artistic director of the Australian Ballet. Since leaving that directorship role at the end of 2020, McAllister has published Soar, his autobiography; created a new Swan Lake for the Finnish National Ballet;
At the end of December it is always interesting to look back on statistics for the year. During 2022, Jennifer Shennan and I have posted 58 items on the website (just over one per week) and we have received around 46,000 visits over that period. Melbourne tops the list of cities from which our readers have come, but the website
In 2022 I managed to see more live performances than I did in 2021. I was even able to get to New Zealand to see Loughlan Prior’s Cinderella. There were still a number of online offerings to add to the year’s viewing of course, and online watching has become part of my life I think. As I did in 2021,
by Jennifer Shennan My year’s list of dance highlights seems thinner than usual since a number of productions didn’t make it to curtain-up. There are no lowlights though (why would you write about lowlights?) so I’ll just call them lights. From a screen viewing I followed with interest the choreographic venture, Journey, by Lily Bones. I remember Lily’s serene sense
Digital screening, December 2022 (filmed during a September season from the Heath Ledger Theatre, Perth) I first saw Douglas Wright’s Gloria in 1993 in Sydney when it was performed by Sydney Dance Company. Then it was a relatively new piece from Wright with its world premiere having taken place in Auckland in 1990. In 1993 I was the Sydney reviewer
To all those who have logged on to this website throughout 2022, thank you for your interest. I wish you the very best for the holiday season. To me the holiday season means Christmas, and the photographs below are some of my favourite Christmas-related images from years past (with one from this year). Have a safe and happy holiday season,
Cranko. The man and his choreography by Ashley KillarMatador/Troubador PublishingISBN. 978-0-646-86603-1reviewed by Jennifer Shennan This biography of John Cranko is a deeply researched, widely contextualised and beautifully written account of the life and work of a major choreographer of mid-20th century. There is meticulous detail in the documentation and analysis of Cranko’s vast choreographic output, both within the text and
10 December 2022 (matinee). Joan Sutherland Theatre, Sydney Opera House Choreography: John CrankoDesign: Jürgen Rose Lighting: Jon BuswellComposer: Sergei Prokofiev It is hard to believe that it is around 20 years since John Cranko’s Romeo and Juliet was last performed by the Australian Ballet. Since then the production of Romeo and Juliet that the Australian Ballet has shown on numerous
2 December 2022. Playhouse, Queensland Performing Arts Centre, Brisbane I have fond memories of watching a production of Nutcracker pretty much every Christmas as a young ballet student in Sydney and it is great to see Queensland Ballet making their Nutcracker (choreographed by Ben Stevenson originally in 1976) a Brisbane tradition. Every production has its high points and the highlight
2023 marks Rafael Bonachela’s fifteenth year as artistic director of Sydney Dance Company and he has announced that he will continue in the role for another five years. The 2023 season will open with a triple bill called Ascent co-commissioned by the Canberra Theatre Centre. As such it will have its opening performances in Canberra followed by a season at the Sydney Opera House as part of the 50th