via the ROH streaming platform Frederick Ashton’s 1937 creation, Les Patineurs (The Skaters), was first seen in Australia (as far as I am aware) in 1958 during the Royal Ballet’s tour to Australia and New Zealand. It entered the repertoire of the Australian Ballet in 1970 when it was first seen in Adelaide and then in various Australian venues. Below
18 September 2025. The Playhouse, Canberra Theatre Centre Circa’s latest production, Duck Pond, is advertised as a reimagining of the ballet Swan Lake, a reimagining of that longstanding, much-loved ballet as a circus spectacular. Other moments in the narrative, we are told, make reference to the work of Hans Christian Andersen, in particular The Ugly Duckling. The narrative follows the
My review of Superposition was published online by Canberra CityNews on 13 September 2025. The review below is a slightly enlarged version of the CityNews post. Here is a link to the CityNews review. *********************************** 12 September 2025. Courtyard Studio, Canberra Theatre Centre A new event on the calendar of the Canberra Theatre Centre, a two-week season of new creations across the field of the
I have admired, for many years now, the activities of Philippe Charluet and his company Stella Motion Pictures. His activities with dancers and dance companies, in particular the companies and work of Graeme Murphy and Meryl Tankard, have been extraordinary and of major historical significance. Of particular importance is his Heritage Collection, which documents the career of Murphy and Janet
7 September, 2025 (matinee). The Playhouse, Queensland Performing Arts Centre, Brisbane Festival Brisbane Festival media announcements for Benjamin Millepied’s Gems have frequently stressed that Gems, a work in three parts, reflects George Balanchine’s Jewels, also a three part work. It is an interesting, but perhaps confusing comment. Millepied of course danced with New York City Ballet (NYCB) and I was
Garth Welch, extraordinary dancer with a range of companies in Australia and elsewhere, has died at the age of 89. I clearly recall a brilliant performance he gave decades ago as Albrecht in Giselle with the Borovansky Ballet. What a thrill it gave me as a young student, and there were many more exceptional performances to come. In 1990, after
Colin Peasley, whose dance career was extraordinarily varied, has died in Melbourne at the age of 90. In 2000 he was interviewed by Bill Stephens for the oral history collection of the National Library of Australia. The interview is open for research purposes but is not yet available online: Peasley asked that written permission be sought before it was made
News released early in August is that Leanne Stojmenov has been appointed artistic director of the Perth-based West Australian Ballet (WAB). She will begin her appointment in January 2026, taking over the reins from David McAllister, who was appointed in 2024 as interim director following the departure of previous director, Aurelien Scannella. Stojmenov grew up in Perth, and began her
My review of Mandolina Ballerina was published online by Canberra City News on 17 August 2025. That review can be read at this link. The review below is a slightly enlarged version of the City News post. ********************************* 16 August 2025. Folk Dance Canberra, Hackett ACT Mandolina Ballerina was a somewhat unexpected collaboration between the Canberra Mandolin Orchestra, augmented by
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