Dance diary. April 2026

Dance week opening event—Ausdance ACT

The opening of 2026 Dance Week from Ausdance ACT took place on top of Canberra’s Mount Ainslie on 29 April, international Dance Day. Founded in 1982 by the International Theatre Institute, International Dance Day takes place annually on the birthday of Jean-Georges Noverre (1727-1810). Noverre is generally regarded as the founder of modern ballet.

The Canberra event began with a Welcome to Country delivered by Ngunnawal elder Aunty Serena Williams, who also prepared and administered the smoking ceremony. The International Dance Day message for 2026 was written by Canadian choreographer Crystal Pite. It was read to the assembled audience on Mount Ainslie by Elizabeth Dalman. Follow this link to read the message.

(left) Aunty Serena begins the smoking ceremony; (right) Elizabeth Dalman reads the International Dance Day message. Photos: © Michelle Potter

The official introductory messages, which also included a welcome from ACT MLA Caitlin Tough, were followed by a solo dance by Liz Lea from her forthcoming production Diamond, and then a group dance by a range of Canberra-based performers, also a sneak peek at what the Diamond presentation might look like. All dancers were spectacularly dressed and Diamond, due to take the stage in August, promises much!

A few changes …

April was filled with news of changes to the careers of several leading figures in the Australian dance world. A move by Callum Linnane, exceptional principal artist with the Australian Ballet, was the first to be brought to my attention. Linnane will leave the Australian Ballet in June to take up a role as principal artist with Hamburg Ballet.

Callum Linnane in rehearsal for Alice Topp’s *Aurum*. Photo: © Jeff Busby

I have admired Linnane’s dancing for some time. For more about him, and my thoughts on his dancing on this website, see this link.

Raewyn Hill is moving on from her position as artistic director of Perth’s Co3 Contemporary Dance, a company she has led since its inception in 2014. She will remain with the company, which is presently searching for a new director, until the end of 2026. It is not yet clear how Hill’s future will unfold.

Then Kyle Page and Amber Haines, co-directors of Townsville-based Dancenorth, will also leave the company at the end of 2026. Their futures are also not clear at this stage.

Vale

It was sad to hear that Ben Stevenson had died in Fort Worth late in March.

In Australia Stevenson’s choreography has been brought to our attention by Li Cunxin, who worked with Stevenson after arriving in America from China when Stevenson was directing Houston Ballet (1976-2003). Li brought Stevenson to Australia on occasions to stage several of his works for Queensland Ballet. Stevenson’s productions of Nutcracker and Cinderella were especially popular.

Ben Stevenson in the Queensland Ballet studio with Li Cunxin. Photo: © David Kelly

From a personal point of view I continue to recall walking down a street in Dallas, Texas, one Sunday afternoon in 2011 and seeing two tutu-clad dancers walking along the same street. They were on a mission to advertise Stevenson’s then forthcoming presentation of Nutcracker for Texas Ballet Theater, which he directed after leaving Houston Ballet.

Texas Ballet Theater dancers, 2011. Photo: © Michelle Potter

Another book from Brisbane

After my visit to Archives Fine Books in Charlotte Street, Brisbane, in October last year (2025), when I discovered their range of second hand dance books, I had another opportunity to visit the shop after seeing Queensland Ballet’s presentation of Messa da Requiem in March this year (2026). I headed, of course, straight to the dance section and was pleased to find another book that was not part of my collection: Diaghilev. Creator of the Ballets Russes, edited by Ann Rodicek with an extensive prologue by Rodicek and contributions from six authors. It was a book published to accompany an exhibition held at the Barbican Art Gallery in London in 1996.

Page of costume designs by Nikolai Roerich for *The Rite of Spring*. 1913

Without wanting to diminish in any way the strength of the prologue and written articles, what especially attracted me were the many images of the items that had been on display in the exhibition. In particular there were a number of costume designs that I had not seen before (see above). It was also fascinating to see portraits of those associated with the company (not necessarily dancers although they were there of course). A fascinating new look at Diaghilev and the work of his collaborators! And such a great second hand bookshop.

Press for April 2026

– ‘Aladdin retold through a ‘minimalistic’. Review of Aladdin. Victorian State Ballet. CBR City News, 24 April 2026. Online at this link.

– ‘Elegant dancing that was hard to see’. Salut! Baroque. CBR City News, 25 April 2026. Online at this link.

Michelle Potter, 30 April 2026

Featured image: Liz Lea in a solo moment from her forthcoming production Diamond. Photo: © Michelle Potter

Flora. The Australian Ballet & Bangarra Dance Theatre

8 April 2026 (matinee). Joan Sutherland Theatre, Sydney Opera House.

Almost 20 years ago, in October 1997, Bangarra Dance Theatre and the Australian Ballet collaborated on a production, Rites, choreographed by Stephen Page, then artistic director of Bangarra. It was a landmark event and the work has since been restaged and has toured and been the subject of a major exhibition in Melbourne. Flora, choreographed by current director of Bangarra, Frances Rings, follows that collaborative tradition.

Flora, in typical Bangarra style, consists of several sections (in this case 12) making up a storyline. The storyline focuses in this case on the evolution of Australian flora beginning with ‘Mother Seed’ and moving eventually to ‘Bush Flowers’. Early moments show bodies representing seeds or young plants entering the earth (stage) from above. As the work continues various moments in the progress of growth are presented.

Artists of Bangarra Dance Theatre and the Australian Ballet in an early scene from *Flora*, 2026. Photo: © Kate Longley

For me the highlight of the work was the section that opened Act II. Called ‘10 Days’, it represented the actions of Sir Joseph Banks who, while in Australia in the early years of British colonisation, removed hundreds of species of Indigenous plants from their natural environment and took them back to England. The program notes state, ‘The collection of species and objects to display in museums reduces First Nations People and cultures to artifact status.’

The removal of native species by Sir Joseph Banks. *Flora*, Bangarra Dance Theatre and the Australian Ballet, 2026. Photo: © Daniel Boud.

Both the set (Elizabeth Gadsby) and costumes (Grace Lillian Lee) for this section were exceptional and, in addition, it was at this stage that political elements surfaced strongly. I am not sure, however, that the reference to the removal of the notion of ‘Aboriginal people’ from the official (political) understanding of the Australian community (as unbelievable as that policy was) needed to be so stark and loudly presented. But then Rings usually makes no bones about her determination to make a political statement through her works.

The final section ‘Bush Flowers’ was another highlight, largely (once more) as a result of Grace Lillian Lee’s totally spectacular costumes. But I did wonder, given their emphasis on extensive detail, if they were difficult to move around in, but the dancers performed effortlessly.

Bush flowers from the final section of *Flora*. Bangarra Dance Theatre and the Australian Ballet, 2026. Photo: © Daniel Boud.

Although there was much to admire in Flora, especially from a visual point of view and from the accompanying score composed by William Barton, the choreography did not move me. While the movement was always fluid and made excellent use of the space of the stage (on, around and above it), the movement itself often seemed without any reference to the actions it was accompanying. If the online descriptive analysis had not been written (and read) would we have had much of an idea, especially in the early sections, about what was taking place?

Very recently I read a book called Diaghilev. Creator of the Ballets Russes, which I had not seen before. Edited by Ann Kodicek, it contained articles by several authors, including one by Irina Vershinina on the music Diaghilev chose for the works he commissioned. In that article I read a comment from designer Léon Bakst in which he said, ‘Our dances, our settings, our costumes—they are all so exciting because they reflect that most elusive and secret thing—the rhythm of life.’ I really wish I had read the comment (and the book) before I saw Flora. The concept of ‘the rhythm of life’ would perhaps have allowed me to see Rings’ choreography in a different light rather than with the frustration that kept rising in my mind.

Michelle Potter, 12 April 2026

Featured image: A scene from Flora. The Australian Ballet and Bangarra Dance Theatre, 2026. Photo: © Kate Longley

I watched this performance as a member of the general public. I paid $207 for my ticket.

Ballet and books in Brisbane

Dangerous Liaisons. Queensland Ballet
4 October 2025 (evening). Talbot Theatre, Thomas Dixon Centre, Brisbane

I was not invited to review Liam Scarlett’s Dangerous Liaisons in its 2025 revival by Queensland Ballet so I felt no reason to stay when I disliked what I was watching. I left at interval. It was just the third time in about 35 years of reviewing dance performances across Australia and around the world that I have left a dance performance before it was over. Why on this occasion?

The work Dangerous Liaisons is based on the 1782 novel Les Liaisons dangereuses by Pierre Choderlos de Laclos. But on the whole this 2025 presentation reminded me of a musical comedy item with an emphasis on sexual activities. The movements and gestures indicating sexual desire were obvious and a highly dominant feature throughout (the first act at least).

Fine re the sexual emphasis. That’s part of the story! But who were all those characters? With one or two exceptions it was not at all clear, as the complex narrative unfolded, who individual dancers were representing. Understanding the action and the multitude of characters taking the stand, as it were, was made more difficult by the lack of any form of easily available written material. We all know that explanations and descriptions of works these days are available online via a QR code, but in the olden days of Queensland Ballet a sheet of paper with brief but vital information of cast and storyline was always available. Even a full printed program was also there for those who wanted one. And how frustrating it is when the person sitting next to you turns on a mobile phone to check something out in the middle of the performance.

I have to mention that there was some excellent dancing being presented, including some group scenes even if it wasn’t clear what was being celebrated or criticised. In particular Georgia Swan was outstanding as the leading female character, the wealthy widow, the Marquise de Merteuil. There was also a male dancer who did not have a major role but whose performance attracted my attention. His technique was excellent but it was his onstage presence, including the manner in which he connected with the audience, that was thrilling to watch. But who was he? I can’t recall having seen him before but I had no way of knowing immediately who he is as there were no photographs of the dancers that were easily available. I should add here that, as I was waiting for a taxi to take me back to my hotel, several people came to the desk in the foyer—it was interval—asking for a printed item of information. They were advised to go and open the QR code!

Georgia Swan in Liam Scarlett’s *Dangerous Liaisons*. Queensland Ballet, 2025. Photo: © David Kelly

It was also, I believe, a really bad move by Queensland Ballet to use recorded music. Someone surely must realise that resident conductor Nigel Gaynor has always had a major input into performances he conducts. He works with what is happening onstage, including how the dancers are performing, in a way that no recording can do (even though the recording used in the 2025 presentation was a recording conducted by Gaynor, it’s just not the same). To make matters worse Gaynor is leaving his post as conductor at the end of 2025. Although I am not entirely clear about the reasons for the move, it apparently has something to do with the financial situation in which Queensland Ballet finds itself. (Happy to be corrected here if I am totally wrong re the reason).

I attended Dangerous Liaisons as a member of the general public. My ticket cost $127. Read my review of the 2019 production of Dangerous Liaisons, to which I was invited and which I thought was exceptional. Here is the link.

See below for a list of publications in which my dance writing and reviews have been published (in addition to the material I have posted on this website since I set it up in 2009).*

The books

But all was not lost. While in Brisbane I visited that amazing second hand book shop, Archives Fine Books in Charlotte Street in the city’s CBD. I have never really been in a second hand bookshop that has such a wealth of items on every imaginable subject. I ended up buying four dance books, three of which were previously unknown to me, and one of which was a book about an exhibition that had a major impact on our understanding of the activities of Serge Diaghilev. The books are:

Buckle, Richard. In Search of Diaghilev (London: Sidgwick and Jackson, 1955)
Collins, Richard. Behind the Bolshoi Curtain (London: William Kimber, 1974)
Dodd, Craig. The Performing World of the Dancer (London: Breslich & Foss, 1981)
La Fosse, Robert (with Andrew Mark Wentink). Nothing to Hide (New York: Donald I. Fine Inc., 1987)

I started my reading with Behind the Bolshoi Curtain and was instantly taken by the personal manner in which Englishman Richard Collins, who spent four years working in Moscow with various sections of the Bolshoi school and company, interacted with his Russian colleagues and vice-versa. There were some issues that were a little concerning (if interesting in a particular way) but it was a ‘can’t put down’ book in the way it showed a side of ballet and dancers that we don’t usually read about in other Bolshoi-focused publications. I am looking forward to moving on to Richard Buckle’s work on his 1950s exhibition on Diaghilev’s contribution to our understanding of the Ballets Russes.

Michelle Potter, 6 October 2025

Featured image: Cover of Richard Collins’ Behind the Bolshoi Curtain.

*Here is a list of the magazines, newspapers and journals in which my reviews have appeared:

The Australian, Australian Art Review, Australian Book Review, Ballet News, Brolga, The Bulletin, Canberra CityNews, The Canberra Times, Choreography and Dance, Current News from the Library for the Performing Arts, Dance Australia, Dance Chronicle, Dance Forum, Dance Research, DanceTabs (formerly ballet.co.uk), The Dancing Times, Jahresmitteilungen von Tanzplan Deutschland, Journal of the Australian Society of Archivists, Limelight, Muse, Museum National, The National Library of Australia Magazine, National Library of Australia News, The Sydney Morning Herald and Voices.

There are other lists of books I have written as well as lists of chapters in books and theatre programs in which my writing has appeared. In addition, there are hundreds of posts on this website, which this year has, according to Google Analytics, already received 105,000 visits from Australia and across the world. I’m just not sure why Queensland Ballet no longer regards me as a critic worthy of an invitation to review.

Dance diary. September 2025

Nutcracker … again

I was a little taken aback on receiving information about the 2026 Australian Ballet season to see that Peter Wright’s Nutcracker will again feature in that season. As usual it will be part of the end of year activities and will be performed in Sydney from 28 November until 16 December.

I fully understand that Nutcracker, in its traditional format, is a much-loved Christmas show—as a young person I used to look forward to it at Christmas time—and it is a great money-maker for ballet companies across the world. But subscribers to the Sydney season saw it last in December 2024. In December 2026 it will be just a two year break between showings and in my opinion it shouldn’t become (as seems to be happening) a regular feature of the subscription season.

As an added complaint, why does it always have to be the Peter Wright version—as strong and entertaining as that production is?* The Australian Ballet has in its repertoire a great version of Nutcracker, a very different, very Australian production from Graeme Murphy. While the Murphy production is not as uniquely Christmas-oriented as the traditional versions, it does have links to Christmas. Why can’t we have it occasionally? And there are other productions of Nutcracker that could also take the place of the Peter Wright version, as much as anything else for some variety.

Perhaps the Australian Ballet might reconsider the timing of its performances of Nutcracker—not put them just two years apart for example, or even alternate the Peter Wright version with another, or others? Perhaps they might even consider removing Nutcracker from subscription packages and making it a stand-alone Christmas event?

And just as an aside, my ticket for the 2026 Nutcracker cost me $245 as part of my subscription package. That seems like a lot to see something that was shown just two years ago.

Isabelle Stoughton

I heard from a reliable source just recently that Isabelle Stoughton had died in August 2025. She was the author of a truly charming book, At the Sign of the Harlequin’s Bat, in which she wrote about her career as an assistant to London-based dance historian and book seller Cyril Beaumont. The news sent me back to the book, which I reviewed in 2012, shortly after it was first published in 2011. The reread was a worthwhile activity and gave me much pleasure.

My review is at this link.

Contact form

I am very pleased to be able to inform users of this website that the contact form, which has been out of action for months and months, is now back in operation. I can vouch for its positive renewal as a number of contact comments have arrived since its reinstatement and have been successfully addressed.

Press for September 2025

– ‘Untouching dancers bring Superposition to life.’ Review of Superposition. Gabriel Sinclair and Jazmyn Carter. CBR City News, 14 September 2025. Online at this link.

MIchelle Potter, 30 September 2025

*A review of the 2019 Wright production is at this link. It indicates quite clearly that I am not intrinsically opposed to the Wright version.

Featured image: Yuumi Yamada as Clara in The Nutcracker. The Australian Ballet, 2019. Photo: © Daniel Boud

Dance diary. April 2025

April is the middle month of Autumn in the southern hemisphere. Spectacular colours abound in nature as dance for 2025 continues, despite a disheartening approach to funding for the art form.

The difficult financial situation that Queensland Ballet is facing, for example, is more than disheartening, although the exact changes that are being made to the company are yet to be fully revealed. To date, Brett Clark, Chair of QB Board, is reported as saying (amongst other remarks on the situation): Over the years, we have worked hard to leverage our base grants from State and Federal Governments and have unapologetically advocated loudly for parity of Federal funding to bring us in line with our peers in New South Wales and Victoria. To date we have been unsuccessful.

In 2025, to ensure our ongoing sustainability, we have made the difficult decision to re-vision our organisation across our Artistic and Business teams which will see us farewell some of our artists and arts workers.

It is also thoroughly frustrating that in the lead-up to the federal election in Australia on 3 May no political party appears to have made any mention of the arts.

New books

Elizabeth Dalman’s book, Nature moves, was launched in Canberra on 27 April 2025 with a short opening performance from Vivienne Rogis and Peng Hsaio-yin. The performance was followed by a launch speech from Cathy Adamek, executive director of Ausdance ACT.

The performance was danced on a lawn that fronts a particular shopping area in Canberra, and under a large and very old tree—appropriate of course given that Dalman’s book examines dance and nature. When the dance came to an end, the audience simply crossed the road for the launch function, which was held in, and sponsored by, the local bookshop, The Book Cow.

Vivienne Rogis (standing) and Peng Hsaio-yin dancing at the launch of *Nature Moves*, Canberra 2025. Photo: © Michelle Potter

Under the heading ‘Press for April 2025’ (see below) is my short article, which was published in CityNews on 28 April 2025, and which expands a little on how the launch unfolded.

Nature Moves is available from The Book Cow, via this link.

I also discovered, quite accidentally, news about the latest publication by Jill Rivers, whose generosity to reviewers I remember clearly from a period, some years ago now, when she was media director for the Australian Ballet. Her current publication, The Genius of Nijinsky, is an interesting read as Rivers had spent much time speaking to the present-day family of Vaslav Nijinsky. Her presence with, and thoughts about, those family members in a range of situations, sometimes quite personal, are embedded within the story.

The Genius of Nijinsky can be bought via a link to the site Art-full Living.

David Hallberg at Jacob’s Pillow, 2012

The latest playlist from Jacob’s Pillow has a short clip of David Hallberg, currently artistic director of the Australian Ballet, performing Nacho Duato’s Kaburias. Watch at this link.

A still showing David Hallberg in a moment from *Kaburias*, Jacob’s Pillow 2012

Just a year or two prior to the performance at Jacob’s Pillow, I had the pleasure of seeing Hallberg perform solo in New York in the series Kings of the Dance. Read my review here.

International Dance Day 2025

International Dance Day, 29 April, is always celebrated with a message from a major figure in the dance world. This year, 2025, the message came from Mikhail Baryshnikov whose comment read:

It’s often said that dance can express the unspeakable. Joy, grief, and despair become visible; embodied expressions of our shared fragility. In this, dance can awaken empathy, inspire kindness, and spark a desire to heal rather than harm.

Especially now—as hundreds of thousands endure war, navigate political upheaval, and rise in protest against injustice—honest reflection is vital. It’s a heavy burden to place on the body, on dance, on art. Yet art is still the best way to give form to the unspoken, and we can begin by asking ourselves: Where is my truth? How do I honor myself and my community? Whom do I answer to?

Latvian-born, Baryshnikov defected from the USSR in 1974. He has performed in Australia on various occasions, including in 1975 when he appeared with Ballet Victoria.

Mikhail Baryshnikov as Albrecht. *Giselle*, Act Ii. Ballet Victoria, 1975. Photo: © Walter Stringer/National Library of Australia

Press for April 2025

Dalman’s book looks at the creation of dance in nature

Michelle Potter, 30 April 2025

Featured image: Autumn colours in Canberra, April 2025. Photo: © Michelle Potter

Dance diary. March 2025

Norton Owen. Director of Preservation, Jacob’s Pillow

Norton Owen is Director of Preservation at Jacob’s Pillow, an exceptional centre for dance that includes a school and a performance space in Becket, Massachusetts, in the beautiful mountainous region of the Berkshires. Norton has been awarded the 2025 Jacob’s Pillow Dance Award. It is in celebration of his 50th year of being on the staff of Jacob’s Pillow and carries a cash award of $25,000, to be used however the awardee wishes. It also includes a custom-designed glass sculpture by Berkshire-based artist Tom Patti. The award is financed by an ongoing annual gift from an anonymous donor.

I have great memories of Norton and his work, including the ‘Pillow Talk’ I did with Gideon Obarzanek at Jacob’s Pillow way back in 2007. The invitation for me to participate came from Norton and since then I have enjoyed following the work he does. In particular I love receiving the monthly playlist of excerpts from footage preserved at Jacob’s Pillow, which reflects the works that have been presented over the years at the Pillow.

From the March 2025 playlist, whose title is ‘Ailey Connections’, I especially enjoyed Pas de Duke, created originally for Judith Jamison and Mikhail Baryshnikov by Alvin Ailey in 1976 to ‘Old Man Blues’ by Duke Ellington. The footage of Pas de Duke on the March 2025 playlist is from a 2024 presentation, performed on that occasion by two alumni of Jacob’s Pillow school—Jacquelin Harris and Patrick Coker. Watch the 2024 Pas de Duke here.

But the playlist is but one aspect of a wider online platform for which Norton is responsible—Jacob’s Pillow Dance Interactive. It can by accessed at this link.

Norton’s award is so well-deserved. He is an exceptional curator of dance matters.

Recent reading

Again from my collection of dance books that either I didn’t get around to reading when I first acquired them, or that have generated new interest for one reason or another, I have just finished reading Carolyn Brown’s autobiography, Chance and Circumstance. Twenty Years with Cage and Cunningham, and am in the middle of Jann Parry’s biography of Kenneth MacMillan, Different Drummer. The Life of Kenneth MacMillan.

Chance and Circumstance is surprising in its honest account of Brown’s attitude to her career and contains many, many insights into the personalities with whom she worked. Different Drummer is no hagiography! Parry gives a startling account of MacMillan’s mental issues, his alcoholism, and his bouts of anxiety, all of which explain to a certain extent the nature of the subjects he chose for his works. Both are well worth reading.

Some statistics for ‘on dancing’

I am always interested to read, via Google Analytics, which posts on this website are the most popular and which cities login to the site most frequently. In the last week of March, Sydney, London, Brisbane, Melbourne, and Wellington were the top five cities (in numerical order). Everything changes of course, even from day to day, and popularity reflects the timing of posts in most cases. In the last week in March, the top five posts in order were ‘RNZB with Scottish Ballet’; ‘Romeo and Juliet. Queensland Ballet’; ‘Essor. Yolanda Lowatta’; and ‘Choros (I dance). Coralie Hinkley’.

I am sometimes curious when an older post pops up and, just recently, my obituary for philanthropist, Anne Bass, published in April 2020, kept appearing on the top ten list. I did a bit of research and discovered that her apartment on 5th Ave, New York, had been sold in January 2025. Clearly there had been interest in what had appeared online about her. And, as a matter of particular interest, her beautiful statue by Degas, ‘Little dancer aged fourteen’, sold separately two years earlier for a record price of $41.6 million.

I continue to think of her often. My 2020 obituary is at this link,

Michelle Potter, 31 March 2025

Featured image: Norton Owen at Blake’s Barn, Jacob’s Pillow. Photo: © Bill Wright

Dance diary. January 2025

Queensland Ballet. The news is out

Queensland Ballet has announced that its new director, following the retirement of Li Cunxin and the sudden departure of Leanne Benjamin, will be Spanish-born Ivan Gil-Ortega who will take on the role in February this year. Gil-Ortega is a celebrated ballet professional with over 25 years in the field. He has held roles with companies and creatives around the world, and has worked as a principal dancer, assistant director, artistic consultant, freelance rehearsal director, stager, and coach. The media release noted Queensland Ballet’s enthusiasm for the appointment. In part the media release says:

We are thrilled to welcome Ivan to the Queensland Ballet family following a stellar career on stage, in studio and working alongside some of ballet’s leading lights. Throughout the recruitment process, Ivan articulated his vision very clearly with a particular focus on our dancers of today and our dancers of tomorrow, through the work of our Academy.

He is also brimming with ideas around nurturing home-grown talent here in Australia as well as exploring world-stage collaborations and exchanges which will see him leaning into his international peers and networks. Ivan and his family are very much looking forward to calling Queensland home and we cannot wait to see them here very soon, Brett Clark AM, Board Chair said.

Gil-Ortega has worked with Queensland Ballet previously when he assisted Derek Deane on the production of Deane’s much admired Strictly Gershwin. Follow this link to a fuller biography of Gil-Ortega provided by Queensland Ballet.

Portraits of Ivan Gil-Ortega. Photos: © Karine Grace

News from Paul Knobloch

For the past several years Paul Knobloch has been the Australian Ballet’s Ballet Repetiteur. Things appear to be changing, however. A recent media release announced that in February Knobloch will be returning to Canberra, where he was born and educated and where he had his initial dance training. He will be working with Jackie Hallahan’s Dance Development Centre (DDC) on a series of events to celebrate the school’s 40th anniversary. The media release states, ‘As DDC gears up to celebrate its monumental 40th anniversary, Knobloch’s involvement promises to elevate the festivities and inspire the next generation of dancers.’

Paul Knobloch. Photographer not identified

I can’t help wondering, however, whether or not Knobloch will return to the Australian Ballet? Here is a link to the media release.

Dancing and Fatboy Slim

During January I was sent a Youtube link to some dancing being performed (back in the 1990s) to Fatboy Slim’s song Praise you. I have to admit that I had never heard of Fatboy Slim—not really part of my general interests I’m afraid especially not during the 1990s when I was rather busy with various other matters (mainly watching children growing into adults, writing a PhD thesis, and working in a range of casual jobs).

Here is the footage, which I found to be an interesting variety of community dance. It reminded me a little of an unexpected performance at a wedding of one of my sons (back around the same date as the footage). Quite out of the blue (I thought anyway) the guests assembled and danced in a similar fashion. It was somewhat different from the traditional celebratory wedding waltz!

Oral histories

I had the immense pleasure in January of recording an oral history for the National Library of Australia with Megan Connelly, currently director of the Australian Ballet School. As part of the NLA’s COVID responses project, Connelly talked about managing the pandemic at the Australia Ballet and the Australian Ballet School before talking at length about her extraordinary dance career to date.

This interview was the 169th oral history I have recorded for various organisations (mostly the National Library). Here is a link to the updated list of those interviews (arranged alphabetically).

Reading in December

My December reading included Barbara Newman’s Striking a Balance. Dancers Talk about Dancing. My edition was published way back in 1992, although the talks were recorded mostly in 1979 and published in the original edition in 1982. I was especially interested in the format since over the past several decades I have recorded oral history interviews with dancers, choreographers and artistic directors. Two of Newman’s essays stood out for me—those with Moira Shearer and Bruce Marks. What made them especially interesting to me was the extensive comments they made about how they approached particular roles. Shearer spoke at length about how she perceived the character of Giselle and where she fitted into the overall storyline of Giselle. Bruce Marks spoke in a similar fashion about Siegfried in Swan Lake. Others also reminisced about particular roles they had taken on but Shearer and Marks seemed, to me at least, to be especially analytical in their thoughts.

Vale Carolyn Brown (1927 –2025)

I was deeply saddened to hear that American dancer Carolyn Brown had died in January at the age of 97. Brown had a truly remarkable career with Merce Cunningham Dance Company over many years. But I remember her in particular because she helped me with my doctoral thesis, which concerned the designs made for the Cunningham company by Robert Rauschenberg and Jasper Johns during the 1960s and 1970s. We met for the discussion in New York in a cafe close to Lincoln Center Plaza. Brown was incredibly generous and honest in her recollections of the years of Rauschenberg and Johns.

Never forgotten for many reasons. Try this link for an obituary from The New York Times.

Carolyn Brown: Born 26 September 1927; died 7 January 2025

Press for January 2025

– ‘Critics Survey. Michelle Potter’. Dance Australia, January/February/March 2025, pp. 32-33.

Michelle Potter, 31 January 2025

Dance diary. December 2024

Karen van Ulzen and Dance Australia

After 35 years as editor of Dance Australia, Karen van Ulzen is moving on. She has been a strong and successful editor and her retirement is a particular loss to the dance community. In a Facebook post, Karen wrote:

Dance is my lifelong love but it is time to hang up the keyboard. I am looking forward,k to indulging my other loves: visual art (specifically painting) and writing. However, dance is still my love and I hope to continue to contribute to the artform in some other way.

Portrait of Karen van Ulzen. From Yaffa/*Dance Australia* online. Photographer not identified

Taking over from Karen is Olivia Weeks whose dance background includes teaching and an extensive background with the Royal Academy of Dance. Of her plans she told Dance Australia:

As Editor, I’m excited to contribute to our ever-evolving dance landscape. My goal is to continue to champion the incredible talent Australia has to offer, celebrate the stories that make our industry so unique, and ensure Dance Australia remains a vital platform for our community in 2025 and beyond.

Read more about Olivia Weeks at this link.

I wish Olivia every success and give my sincere thanks to Karen for all she has achieved for dance in Australia, and for her support of my writing over many years.

More on books and reading

After the death of Eileen Kramer I thought it was time to read her autobiography, Walkabout Dancer, a copy of which she kindly gave to me but which I had never taken the time to read. It was published in 2008 in North America and I honestly can’t believe that there was a professional editor at work on the text prior to publication. The text is rife with spelling errors and inconsistencies and inaccuracies in names and places throughout. Perhaps the inaccuracies extend even to aspects of the story itself? To tell the truth, I wish I had never taken on the reading of it. It does nothing to advance the image of Eileen Kramer.

I did, however, enjoy Derek Parker’s 1988 publication, Nijinsky. God of the dance, a copy of which I found in the Harry Hartog Bookshop at the ANU. (That HH bookshop again!). Apart from the fact that it revealed some interesting personal information about ‘the God of the Dance’, it contained some photographs of Nijinsky and his colleagues that I had never seen before. It’s a shame though that some of the photographs on certain pages were positioned very close to the binding and were not always easy to see in full. Well worth a read however.

Vale Arlene Croce (1934-2024)

Renowned American dance critic, Arlene Croce, died in New York in December. She was 90 years old. I never met her, despite having spent some time in New York on various occasions over the past thirty years or so. But I had always enjoyed her writing for various outlets including The New Yorker, Ballet Review, which in fact she co-founded, and other publications. Her background knowledge was wide and very apparent in her dance writing, and I especially admired her exceptional and always appropriate use of descriptive words and her highly analytical approach to her writing.

As part of an obituary, the following words appeared in The New Yorker, issue of 19 December 2024:

Croce took dancing seriously, pulled dances apart and analyzed them rigorously, and her clarity and imagination, her stunning insights, and even her glaring flaws—all this was there on the page. This passion and discipline made her a kind of alter ego of—or perhaps a ministry to—the art. She had an unrelenting determination to say what she had seen.

It is interesting to reread what is one of her best known articles, ‘Discussing the Undiscussable’, which appears in her collection of reviews and articles, Writing in the Dark, Dancing in The New Yorker. In this article she talks about her reasons for refusing to go to, let alone review, a performance of Still/Here by choreographer Bill T. Jones, a work he created involving terminally ill people who speak about the issue of dying. The article caused something of a stir when it was published in The New Yorker in 1994. It still raises many issues about dance and how it is, or has been, perceived.

The original article appears to be available online without a New Yorker subscription. Try this link

Some statistics for 2024

Over the course of 2024 this website received slightly more than 75,000 views. The top five countries making use of the website were (in order) Australia, United States of America, New Zealand, Canada and United Kingdom. Top five cities from which people logged in were Sydney, Melbourne, Auckland, Brisbane and New York. During 2024, the top post on a northern hemisphere production was Joy Womack: The White Swan; the top Australian-related post was Etudes/Circle Electric. The Australian Balle t; and the top New Zealand post was Swan Lake. Royal New Zealand Ballet.

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A very happy 2025 to all. May the year be filled with dancing.

Michelle Potter, 31 December 2024

Featured image: A young Canberra dance student performing as Triton in a ballet school production of The Little Mermaid, 2023. Photographer not identified

Dance diary. November 2024

Vale Roz Hervey

It was sad news to discover that Roz Hervey had died early in November. She made a huge contribution to dance in Australia, especially in South Australia. But she also made a huge impact in Canberra where she danced with the Meryl Tankard Company. The National Library has a selection of images taken by Régis Lansac of the works in which she performed in Canberra. Two are below. Nuti on the left was one of Tankard’s most visually beautiful productions and was presented in 1990 at the National Gallery of Australia in conjunction with an exhibition of works on loan from the British Museum. Pile Up on the right was a work by Graeme Watson, which shared a double bill with Tankard’s Kikimora also in 1990.

Read an acknowledgment of Roz Hervey’s contribution to dance in Australia at this link.

Coralie Hinkley: a manuscript collection

The National Library of Australia has completed the cataloguing of the Papers of Coralie Hinkley, which were sorted beautifully and donated to the NLA by Coralie’s daughter after her mother’s death. Here is a link to the catalogue details, including the finding aid. Coralie had an astonishingly varied dance career as the finding aid indicates.

Coralie Hinkley in a study for the Bodenwieser Ballet production, *Indian Boy*, ca. 1952. Photo: © Margaret Michaelis. National Library of Australia

Some reading news

Harry Hartog Bookshop at the Australian National University always has an interesting collection of secondhand dance books. ‘Oh they come from all over the place,’ a sales person once told me. The most recent addition to my book collection from that bookshop was The Helpman Family Story by Mary Helpman, which covers the period 1796 to 1964. While it probably isn’t the most analytical discussion of that story I have come across, it was full of surprises especially about the extent of the theatricality that characterised the lives of many of the family. It was not just Bob (as Robert Helpmann is referred to throughout the book) but other family members as well.

Press for November 2024

– ‘Tale of a turtle engages children—and adults (Bangarra Dance Theatre)’. CBR CityNews, 7 November 2024 . Online at this link. (And in a slightly enlarged form here.)

– ‘Community dancing with an Olympic theme’. CBR CityNews, 23 November 2024. Online at this link. (And in a slightly enlarged form here.)

Michelle Potter, 30 November 2024

Featured image: Roz Hervey (centre) and dancers from the Meryl Tankard Company in a scene from Kikimora, Canberra 1990. Photo: © Régis Lansac

Dance diary. June 2024

Remi Wörtmeyer

Former Australian Ballet dancer (and a graduate of the Australian Ballet School), Remi Wörtmeyer, has been appointed artistic director of BalletMet in Columbus, Ohio. The press from BalletMet has further information and some online examples of his dancing and choreography. Follow this link.

Wörtmeyer’s career has been diverse to say the least. In addition to his dance-related activities, which include the creation of some 30 ballets for companies around the world, he established Maison Remi, an organisation that produces some incredible fashion accessories, including handbags, rings and more.

For mentions of Wörtmeyer on this website see this tag.

News from Queensland Ballet

Queensland Ballet goes from strength to strength as an organisation. The company recently announced it had taken another step towards its ‘Three Sites: One Vision’ concept by purchasing land in Brisbane on Montague Road close to the Thomas Dixon Centre. The new site will eventually house the company’s sets and costumes. ‘Three Sites’ includes the Thomas Dixon Centre with its exceptional small theatre and administration and classroom areas. The second site is the housing of the Queensland Ballet Academy at the Kelvin Grove State College Campus. The new site to house costumes and sets will be the third.

In another recent announcement, the company advised that it had become the first performing arts company in the world to become WELL Certified^TM at the Platinum level. This recognition came as a result of the restoration of Queensland Ballet’s home, the Thomas Dixon Cente. The media release reads, in part:

The WELL Building Standard is an evidence-based performance certification system hat marries best practices in design and construction with policy and operational strategies. The Thomas Dixon Centre earned the distinction based on ten concepts—Air, Water, Light, Nourishment, Movement, Thermal Performance, Sound, Materials, Mind and Community.

Isadora Duncan

In last month’s dance diary I mentioned a 2001 publication, Isadora. A sensational life, by Peter Kurth, which I had just read. The book encouraged me to read some more of the books about Isadora, which have been languishing on my bookshelves—it has been years since I looked at them. Isadora’s autobiography, Isadora: My life originally published in 1928, was hugely personal (as I guess is typical of any autobiography). But it gave a clear picture of her approach to dance, and of her distaste for ballet as a style, although there were times when it seemed she was simply making sweeping generalisations. But it looked at events in her life from a different perspective from the way Kurtz described those occasions. The book I enjoyed most was The search for Isadora. The Legend and Legacy of Isadora Duncan by Lillian Loewenthal, published in 1993. It was the most analytical and perhaps divorced from hysteria of one kind or another.

Three very different approaches! It made very clear how much of a person and his/her/their background is revealed in a publication. Now I have Isadora Duncan. Une Sculpture Vivante, to examine. Published in 2009, it an exhibition catalogue, with some essays, from the Musée Bourdelle in Paris.

My comments on Kurth’s book are in the dance diary for May at this link.

Press for June 2024

Bangarra’s ‘Horizon’. Dance Australia, 17 June 2024. Online at this link.
SDC ‘Momenta’. Dance Australia. 24 June 2024. Online at this link.

Michelle Potter, 30 June 2024