Harry Haythorne (Artistic Director of Royal New Zealand Ballet 1981—1992) was always an enthusiastic admirer of Gray Veredon’s choreography. In 1981, the effervescent Ragtime Dance Company, to Scott Joplin, had set the stage sizzling and gave Jon Trimmer one of his favourite roles. In 1988 Harry commissioned Tell Me A Tale, which wove elements of 19th century Pakeha settlers interacting with local Maori community, incorporating haka into the danced narrative. To my memory that was the most assured choreographic staging in and of a bi-cultural New Zealand we have seen.
Veredon’s rapport with designer Kristian Fredrikson was evident in the shadowed atmosphere of a powerful set and vintage costumes. Images remain of the performances by Jon Trimmer as the father, Kerry-Anne Gilberd the mother, Kim Broad the son, with Warren Douglas powerfully leading the haka that challenged a love interest across the racial divide. It’s always intriguing to think about what keeps some dance memories alive for decades while others fade.
In 1989, Haythorne commissioned A Servant of Two Masters—with Veredon and Fredrikson again working together. The request was for a set that could easily travel abroad since Veredon’s contacts with the impresario Manfred Gerber enabled the Company’s first tour to Europe. Fredrikson came up trumps with silk banners that filled the stage yet could be folded down into two suitcases. Board a plane with a ballet in your carry-on luggage? Touché.
To vivacious Vivaldi, the full-length work proved a triumph as Veredon, who knew commedia dell’arte well, made stunning character roles for every soloist in the company, each one of whom rose to the challenge—most outstandingly Eric Languet as Truffaldino and Warren Douglas as Brighella. Even the Artistic Director was on stage as Harry leapt at the chance to play Dr. Lombardi, cavorting opposite Jon Trimmer as the wealthy Pantalone. It is true as Michelle Potter points out they did not push their luck by overplaying the farce, but reined in their comic timing which of course controls character the more impressively. Many audience veterans vote Servant as the ‘best ever’ work from RNZB repertoire. The tour proved hugely memorable for the Company for a completely different reason—they were in Berlin when the Wall came down. Dancer Turid Revfeim’s memories and descriptions of the events could and should be the subject of another full-length choreography.
In the book The Royal New Zealand Ballet at 60, Veredon wrote a perceptive article, Developing New Synergies, about his numerous seasons with RNZB. His tribute to Jon Trimmer as leading dancer for decades is for the record. Veredon also shares cogent and relevant ideas for choreographic development within a ballet company, and the responsibility to keep the best of the repertoire extant. Ka hau te rangatahi—the new net goes fishing.
Jennifer Shennan, 4 July 2022
Editor’s note: This article began as a comment on the review on this website of the Australian Ballet’s production of Harlequinade but deserved to become a short article on new and old repertoire. Gray Verdon’s comments on repertoire in The Royal New Zealand Ballet at 60, as mentioned above, are definitely worth reading especially the last paragraph on p. 166. More about A Servant of Two Masters and Tell me a Tale can be found in Kristian Fredrikson. Designer, pp. 147-156.
This is a slightly edited version of the text and PowerPoint images for a keynote paper I gave at the 2022 BOLD Festival in Canberra on 3 March 2022
Looking at the opening slide for my talk this morning you may be wondering why, for a keynote talk at a dance-oriented festival, I have chosen an image from a theatre production, Melbourne Theatre Company’s 1975 production of The Revenger’s Tragedy. And perhaps you may be curious as to why I have given it the title ‘And the dance goes on.’ All should, I hope, become clear as we proceed.
But first take a good look at Kristian Fredrikson’s costume design for the Duke in The Revenger’s Tragedy in the slide above. Fredrikson was an exceptional designer and an artist really. No stick figures for him. His designs were drawn as if they were being worn by the particular character in the play, film, dance, opera, or whatever theatrical genre he was working on, and he worked across them all. He did a huge amount of research, and collaboration, before designing and had in his mind a very clear picture of the nature of each particular character. Not only that, his designs are filled with movement, both body movement and the potential movement of the costume. Take a look at the way he has positioned the Duke’s head, thrown back and assertive. Look at the way he has drawn the legs, well-separated as if in movement. Then there are the expressive arms and hands. He has also drawn the costume spread out well —partly of course to show details of the design but also to indicate how the costume, especially the cloak, would move as the Duke strode across the stage. This design will be on show in the National Library’s exhibition On Stage, which opens tomorrow. I encourage you to visit the exhibition. I hope the backstory, which I will discuss shortly, will make seeing the design especially interesting.
On this next slide here are three more costume drawings from the same play, The Revenger’s Tragedy. These are not part of the exhibition but are part of the National Library’s exceptional collection of Fredrikson material, and my talk will focus to a large extent on the National Library’s collections of various materials, including Pictures, Manuscripts, Oral History and Ephemera.
You can see, left to right, Lussurioso, whom one writer has called a ‘lustful jerk’ and who is the Duke’s legitimate son; then the Prison Keeper; then Gratiana, who is the mother of the revenger. I think you can see again an interest in movement in the designs, as well as expressiveness in the way the characters are drawn.
The Revenger’sTragedy is a Jacobean play dating to the very early seventeenth century. It was first performed in London in 1606 and there has been much academic discussion over the years about the author, but the latest understanding is that it was written by one Thomas Middleton. The play centres on lust and ambition in an Italian court and the Revenger of the title, whose name is Vindice, seeks revenge on the Duke for poisoning Gloriana, the woman he loves. This happened several years before the play starts but Vindice has been mulling over it for years. In a convoluted series of events the Duke is poisoned and then stabbed by Vindice. But the Duke’s successor, Lussurioso, is also killed and eventually Vindice is condemned to be executed. This is a very simple outline but you will understand the extent of the killings when I tell you that one reviewer of the Melbourne Theatre Company production wrote: ‘It opens with a bloodcurdling shriek accompanying a tableau vivant and closes with an ironical shrug and a pile of dead bodies.’ As an example of his involvement in works he was designing, Fredrikson wrote his own notes about revenge tragedies, and at one point said: ‘Revenge tragedies require the designer to reach into his or her darkest imaginings and personify not only various of man’s worst sins but also a bizarre nightmare world. They are horror stories in the true sense because they deal with the obsession of revenge which is pursued until it results in massacre.’
It is probably not surprising to anyone here that a genre called ‘revenge tragedy’ ends in tragedy! But this Melbourne Theatre Company production had a surprise outcome and that outcome went on to have long-lasting effects on the growth of dance in Australia. The show was directed by David Myles, an Australian who began his theatrical career in television before heading to London, making a career there and across Europe. He returned to Australia in the 1990s but in 1975 he was in Australia as a guest director for Melbourne Theatre Company. The final orgy scene of The Revenger’s Tragedy needed a choreographer to give it an orgiastic feeling and it was none other than Graeme Murphy who was commissioned to create that scene. Graeme had returned to Australia in 1975 after spending time in Europe, in particular with the Ballets Félix Blaska in Grenoble, France. He and Janet Vernon spent 1975 freelancing before joining the Australian Ballet again in 1976.
I’m going to play you now a brief audio clip from an oral history interview with Kristian Fredrikson, who explains a little about what happened with the choreography.
He makes an error or two in this clip, saying that Graeme was a student or dancer with the Australian Ballet when he was brought in to work on The Revenger’s Tragedy. But, as I have just mentioned, Graeme was actually freelancing in 1975. Fredrikson also doesn’t remember, on the spur of the moment, the name of the director, which I have mentioned was David Myles. Here is how Fredrikson describes what happened.
It is more than interesting to hear him say that the director threw out Graeme’s contribution, but Fredrikson’s memories may be a little exaggerated. A conversation I had with Graeme while I was writing my biography of Fredrikson indicates that much of what he choreographed did become part of the production, and, as you can see from the image below, his name appears as choreographer on the printed program for The Revenger’s Tragedy. But apparently it was not a smooth process. Notice too that the playwright’s name is given as Cyril Tourneur although, as I mentioned scholars now believe that the playwright was Thomas Middleton.
Now, despite the ‘pile of dead bodies’ with which the play closes, and the apparent difficulties David Myles may have had with the choreography, the meeting of Murphy and Fredrikson was a momentous one. While both would pursue independent careers over the years, they would also constantly team up in major collaborative endeavours for a number of theatrical organisations.
As I have mentioned, in 1976 Murphy rejoined the Australian Ballet as a dancer and as the company’s first resident choreographer. But at the end of the year, he was appointed to head the Sydney-based Dance Company (NSW), later to be renamed by Murphy as Sydney Dance Company. Shortly after taking up his appointment, he called Fredrikson, and much to Fredrikson’s pleasure and surprise, offered him a commission to work on a new ballet he was planning, a production of Shéhérazade, not to the well-known score by Nikolai Rimsky-Korsakov as famously used by Diaghilev for his Ballets Russes, but to a song cycle by Maurice Ravel.
Shéhérazade, which premiered in Sydney in 1979,was, in my opinion, one of the most stunning of the works Murphy made early in his career with Sydney Dance, not only from a choreographic point of view, but also in terms of the collaborative endeavours created together by Murphy and Fredrikson. It certainly got the collaboration off to a good start. Above is an image from the original 1979 production in which both Murphy and Janet Vernon danced.
Shéhérazade was an incredibly erotic work. Brian Hoad, who was dance critic for the now-defunct magazine The Bulletin, called it ‘a choreographic mood painting at its most luscious…it turns out to be one of the most thoroughly bewitching evocations of sensuality ever to grace a stage.’ In the background you can see a hint of lighting and a backcloth and I want to show you the backcloth in more detail and the colour that was involved.
The backcloth was like a tent and four dancers, the Watchers, sat suspended in it. You can see one in the image on the left. They watched the dance unfold below them and shielded their eyes when matters got too erotic. The colour scheme was blue and gold and you can see a design for the tent bottom right of the slide. It’s now part of the National Gallery of Australia’s collection, while the two photographic images are part of the National Library’s collections. I’ll play you another audio clip from the Fredrikson oral history in which he talks about designing Shéhérazade. You’ll hear him mention that Gustav Klimt, whose art work, made in Vienna in the early twentieth century, was his inspiration. But also interesting is the way he speaks about the collaboration. ‘Shéhérazade came about in an easy flash’ he says.
So, a result of The Revenger’s Tragedy one spectacular aspect of dance in Australia was born, a collaboration between a choreographer and a designer that resulted in some sensational works over three decades for Sydney Dance Company, the Australian Ballet, and Opera Australia.
Now, there are more designs in the On Stage exhibition that record the Murphy/Fredrikson collaboration, including one or two for Swan Lake and Nutcracker: The Story of Clara. I’m going to focus on Swan Lake, which premiered for the Australian Ballet in 2002.
The Murphy Swan Lake is quite a change from what many had come to see as the ‘normal’ version. The narrative follows the tragic story of a young, vulnerable woman, Odette, who yearns for the loyalty of husband-to-be, Prince Siegfried, but who discovers on the eve of her wedding that Siegfried has a lover, the seductive and possessive Baroness von Rothbart. That discovery marks the beginning of Odette’s mental decline, which takes place in Act I, following the wedding. In Act II Odette is confined to a sanatorium after Siegfried’s mother, a cold and dismissive Queen, calls a doctor towards the end of Act I to attend to Odette’s apparent illness. In the sanatorium Odette is attended by nuns and, at one stage while there, she rocks rhythmically backwards and forwards in a dazed state and has a vision of white swans and a frozen lake. In a scenic transformation we are transported to the lakeside where Odette dances with the swans of her imagination and, meeting Siegfried there, she performs a duet with him. Later she leaves the sanatorium and in Act III arrives at a glittering party hosted by the Baroness and Siegfried. But, although Siegfried ultimately rejects the Baroness and regrets his behaviour towards Odette, Odette believes she can never find peace and in Act IV drowns herself in the lake of which she has dreamt in Act II.
The image on the left on the slide above is a design that you will see in the exhibition from tomorrow onwards. It is for ‘The young duchess’ (or ‘The Young Duchess-to-be’ as she was eventually called when the work went on stage). The costume is what she wore to the ‘glittering party’ hosted by Siegfried and the Baroness in Act III. You can see that it is not so much a work of design art, but a practical drawing that would be used by the wardrobe department when making the costume. It’s interesting to see an Edwardian style in parts of that costume, especially in the high neck and the draped, low-slung bodice. Fredrikson wanted to set this Swan Lake in the Edwardian era, although not every costume had all that much that was recognisable as Edwardian. On the right is a design for the Baroness von Rothbart in Act III, also for the ‘glittering party’—without many Edwardian references, I think. And here is what the Baroness’ costume looked like when made up.
But what is interesting about this Swan Lake is that by this stage, 2002, Fredrikson had become more than a designer for Murphy. They had set up a relationship that went beyond things coming ‘in an easy flash’, as Fredrikson had mentioned in relation to Shéhérazade, to one where Fredrikson had become an essential member of the creative team. He replied by email at one stage to a request from a journalist for information about Swan Lake with these word (and unfortunately I can’t play them as audio since they were written rather than spoken):
‘The actual inspiration for this production came about at our (Graeme, Janet and myself) first brainstorming meeting to see in which direction we wished the story to go so that it would please not only us, but also have an emotive and comprehensible value for the audience. For some time we considered manipulating the tragic story of the imperial family of the Romanovs … but soon discarded this as needing too much distortion to fit the score. Then, secondly, we were well versed in the history of the first production of the ballet and the bitter rivalry between the two ballerinas who first played Odette. This seemed promising as a scenario, but after an amount of discussion we were discouraged by the problems of conveying the romance of the original story. It was Janet who first brought up the obvious fact that this ballet was about Royal Romance and its ultimate despairing failure … So this was our beginning and, although we were determined that this would be no biography of any one particular Royal duo, we would have much material to supply us for Tchaikovsky’s tragedy.’
So,Fredrikson was totally part of the development of the story as well as the designer of sets and costumes. Fredrikson died in 2005 and Swan Lake was his last collaboration with Murphy.
That collaboration had grown and developed over almost three decades and gave the dance world some spectacular productions. And it all began with The Revenger’s Tragedy. My title for this talk … ‘And the dance goes on …’ alludes to the ongoing and developing relationship between Murphy and Fredrikson.
Thank you for coming (or watching if you are online) and I hope you will take the opportunity to visit On Stage, which continues until 7 August, and will find particular enjoyment in looking at the designs by Fredrikson for Murphy productions. There are one or two more that I haven’t had time to discuss. I hope too you might be interested in reading more about the Murphy Connection in my recent book Kristian Fredrikson. Designer. Chapter 4 is in fact called ‘The Murphy Connection” although the beginnings of the connection form part of Chapter 3, ‘Into the Seventies’.
February’s dance diary is all about what’s coming up in March (and later). What a thrill it is to have events scheduled with a live audience (fingers crossed of course!).
Canberra’s next BOLD Festival—the third in a remarkable series inaugurated and directed by Liz Lea—was scheduled originally for 2021. In fact two attempts were made for it to take place in 2021 and both had to be cancelled. But BOLD has weathered the storm and BOLD 22 will open on 2 March with a launch at the National Film and Sound Archive. In a manner that reflects our present environment as much as anything else, BOLD 22 will be a series of events that are both in person and online. It will feature participants from across Australia and around the world. It continues to have as patron the irrepressible Elizabeth Cameron Dalman.
I will be giving a keynote talk entitled And the dance goes on … which will begin with a discussion of Melbourne Theatre Company’s 1975 production The Revenger’s Tragedy and continue with the surprising dance outcome that resulted from that production.
Redlands Museum in Cleveland, Redlands Coast Area, Queensland, will open its latest exhibition Redland to Russia—Lisa Bolte, my ballet career on 12 March. It will continue through April and May and focuses on the career of former Australian Ballet principal, Lisa Bolte, who grew up in the Redlands area. The exhibition will feature a collection of costumes and memorabilia from the Australian Ballet archive, along with footage of Lisa’s life story growing up in the Redlands, and her subsequent career on stage.
I have many great memories of Lisa’s performances over a number of years. She was a standout performer in so many ballets but I was blown away by two productions in particular, Stephen Baynes’ 1914 in which she danced the lead role of Imogen, and a totally brilliant performance as the lead in George Balanchine’s Theme and Variations. But below she is seen in the mad scene from Giselle Act I—a photo taken during a guest performance in Russia.
Learn a little more about the exhibition at this link.
The Johnston Collection
I was scheduled to give a talk in Melbourne for the Johnston Collection in 2021 but, like so many other events, it too was cancelled due to COVID restrictions. Well that talk has been rescheduled and will take place in Melbourne on 22 June. The talk is called Kristian Fredrikson. Theatre designer extraordinaire. More information and bookings at this link.
What a pleasure it is to be able to say that West Australian Ballet is turning 70 in 2022. It is the oldest ballet company in Australia and was founded in 1952 by the former Ballet Russes dancer Kira Abricossova Bousloff. The company gave its first performance in 1953 and turned professional when Rex Reid was appointed artistic director in 1969. Since then its directors have included Robyn Haig, Garth Welch, Barry Moreland, Ted Brandsen and Ivan Cavallari. It is currently directed by Aurélian Scanella who has now been at the helm of the company for ten years.
Unfortunately, Western Australia has very strict entry requirements at the moment and it is not an easy place to visit for those who live outside the State. The thought of missing certain parts of the 2022 program is hard to take. I am especially interested that the company is planning its own new production of Swan Lake in late 2022. It will be choreographed by Krzysztof Pastor, will have a distinct relationship to West Australian culture and society, and will incorporate Indigenous material into the production. While this Swan Lake promises to be unique, the focus on the culture of the West is also an exceptional way to honour Kira Bousloff whose early repertoire incorporated reflections on Australian life and culture.
La Nijnska. A new book by Lynn Garafola
Esteemed dance historian Lynn Garafola has recently completed a biography of Bronislava Nijinska. As the first in-depth account of the life and career of a dance artist about whom so little has been written, La Nijinska is a publication which we can anticipate with particular interest. The book is being published shortly by Oxford University Press, although its exact publication date seems to vary somewhat according to different sources. Details are on the OUP website.
And on an Australian note, Kira Bousloff, founder of West Australian Ballet as mentioned above, took classes with Nijinska and performed with her company. She talks about her experiences in an oral history conducted with her in 1990 for the National Library of Australia’s oral history program. The interview is online at this link.
BOLD Festival 2022
The much delayed BOLD Festival (originally planned for 2021) is going ahead in Canberra and online in March. See below for information from the BOLD team on the keynote addresses and the BOLD Lecture. Further information as it comes to hand.
We are thrilled to announce our three Keynote speakers and the 2022 BOLD Lecture. Talks will be in person and live-streamed on the 3rd and 4th March at the National Library of Australia. They will then be available online for 22 days.
Our opening Keynote is Eileen Kramer who, at 107 years of age, continues to create dances, stories, costumes and films, even in the midst of Covid lockdowns. Her tenacity and creativity shine through this difficult time.
In conversation with long time collaborator Sue Healey, Eileen will reveal ideas about longevity of practice and what drives her to keep creating.
ID; Woman with white hair and large earrings holds her newly published book
Our next Keynote is the extraordinary Gary Lang speaking from the heat of Darwin about his life as a Larrakia artist.I will speak of the unique way I, as an Artistic Director and choreographer, use multi cultural dancers to tell my people’s first nations stories on the local, National and International stage through my work with the NT Dance Company. Our work reflects the rich multicultural tapestry of the Territory and collaborates with leading dance companies including most recently, NAISDA Dance College, West Australian Ballet, Northumbria University UK and MIKU Performing Arts from East Arnhem Land. ID; An indigenous man with silver hair, wearing glasses, white shirt, black trousers and turquoise wrap, sitting barefoot on a chair in a darkened theatre. Theatre lights glow dimly behind him and his left arm and leg are elegantly crossed as he looks directly at the camera.
Our closing Keynote is Dr Michelle Potter who will discuss ‘The Revenger’s Tragedy’. Revenge tragedies always have a tragic outcome, but Melbourne Theatre Company’s 1975 production of the Jacobean play ‘The Revenger’s Tragedy’ had a surprising and very positive outcome for the future of dance in Australia.
Kristian Fredrikson, costume design for The Duke in The Revenger’s Tragedy, 1975. National Library of Australia ID; a water paint of a male character throwing his hands in the air wearing a black and white bold patterned cape with brown and dark blue lining, black and white patterned trousers, black boots, intricate chest piece detailed with brown and a high ruffled neck, Elizabethan style.
Our conference closes with the BOLD Lecture given in the memory and spirit of Scotland based Australian dance artist Janice Claxton. Janis worked internationally, she was a hugely talented choreographer, a tour-de-force and front-line fighter for equality in dance. The first BOLD Lecture was given by Claire Hicks, Director of Critical Path. This year we will be joined by Marc Brew, another Scotland based Australian choreographer working internationally. Most recently he was the Artistic Director of AXIS Dance Company, USA.
ID; A photo of a white male, slim build, 6′ 2″ tall, wheelchair user with a shaved head, green eyes and sculpted facial stubble, wearing a black at cap, black jumper and a black & grey scarf around his neck. Poised in front of a grey background. Photo credit; Maurice RamirezMarc is a Disabled choreographer, director and dancer. His lecture titled ‘Point of the Spear’ will share his personal experience of the importance of being an advocate for accessibility and inclusion. How, collectively, we all need to work together to be Inclusive in our thinking and actions to make the world equitable for all.
On a final note applications for The Annie are coming in which is brilliant. Do keep sharing the word so we can support an artist to create work on older dancers with Annie’s inimitable spirit chivvying us on.
Next up we will announce our workshop series which will be offered over the 5 days of the Festival. We have 15 workshops being offered in person in Canberra and on Zoom from around Australia, LA, Canada, Singapore and the US. Be fabulous Stay Bold best wishes
The BOLD Team
A range of departures and new appointments to dance and dance-related organisations was announced over the past month or two. In Australia they include the departure after close to twelve years of Anne Dunn from Sydney Dance Company to take on the role of Executive Director and Co-Chief Executive Officer of Sydney Theatre Company. Lou Oppenheim will take on the role of CEO of Sydney Dance Company in mid-February.
Elsewhere in the world they include the appointment of Tamara Rojo as Artistic Director of San Francisco Ballet. Rojo leaves English National Ballet in late 2022 to become the first female director of SFB. She replaces Helgi Tomasson.
As I write this month’s dance diary, Australia is in the middle of National Reconciliation Week and today is a public holiday in the ACT. National Reconciliation Week is a reflective time to explore shared histories, cultures, and achievements, and to examine ways in which reconciliation between Indigenous and non-Indigenous Australians might be achieved. It seems appropriate then to begin this month’s dance diary with news from two Indigenous dance companies, Bangarra Dance Theatre and Marrugeku.
Bangarra’s new program for children
Bangarra Dance Theatre has announced a new initiative, a work for children called Waru—journey of the small turtle. Conceived and created by Stephen Page and Hunter Page-Lochard, along with former Bangarra dancers and choreographers Sani Townson and Elma Kris, it tells the story of Migi the turtle who navigates her way back to the island where she was born. Waru is for children aged between three and seven years old and will have its official premiere performance later in 2021. A preview season is due to take place in Bangarra’s newly renovated home at Walsh Bay, from 7-10 July. More about the official premiere as it comes to hand.
A new work from Marrugeku
In another initiative, the Broome-based company Marrugeku, which is also company in residence at Sydney’s Carriageworks, will present Jurrungu Ngan-ga (Straight Talk) at Carriageworks between 4 and 7 August 2021. This work, based on a concept by Dalisa Pigram and Rachael Swain with input from Patrick Dodson, reflects on life inside Australian immigration and detention centres. More information from Carriageworks.
Another award for David McAllister
Like so many recently scheduled arts events, the annual Helpmann Awards were cancelled this year. Nevertheless, early in May 2021 the organising committee awarded two Industry Achievement Awards for 2020. These awards recognise an individual who has made an exceptional contribution to the Australian live performance industry and one went to recently retired artistic director of the Australian Ballet, David McAllister. It added to his Queen Elizabeth II Coronation Award, which he received in April.
Famed Italian ballerina Carla Fracci has died in Milan aged 84. Fracci’s illustrious career included guest performances in Australia in 1976 when she danced Giselle to Kelvin Coe’s Albrecht. An obituary is at this link.
Kristian Fredrikson. Designer
After a year since publication, reviews of the Kristian Fredrikson book have pretty much come to an end. I can’t resist sharing, however, the images below.
On the left is the book taking ‘pride of place’ in the new, yet to be completed home office of a distinguished professor of art and design. On the right is the display at the Dowse Art Museum, Lower Hutt, New Zealand.
Press for May 2021
‘New narratives from old texts: contemporary ballet in Australia’ in The Oxford Handbook of Contemporary Ballet. Edited by Jill Nunes Jensen and Kathrina Farrugia-Kriel (New York: Oxford University Press, 2021) pp. 179-194.
My copy of the Oxford Handbook finally arrived and it is certainly a handsome publication. Apart from the impressive scope of the articles, it is well edited and shows exceptional respect for those involved in its production. All the photographers are acknowledged by name in the ‘Acknowledgments’ section, for example. That kind of acknowledgment doesn’t happen very often
Neneka Yoshida and Patricio Revé were both promoted during the Queensland Ballet’s60th Anniversary Gala held in March 2021, Yoshida to principal, Revé to senior soloist. Both have been dancing superbly over the past few years. Yoshida took my breath away as Kitri in the Don Quixote pas de deux at the Gala and Revé I remember in particular for his performance as Romeo in the 2019 production of Romeo and Juliet, although of course he also danced superbly during the Gala.
Congratulations to them both and I look forward to watching them continue their careers with Queensland Ballet.
Fjord review, issue 3, 2020
Some years ago I wrote an article about Fjord Review, the first issue. At that stage it was based in Melbourne (or so I thought anyway), although now it comes from Canada. Its scope is international and its production values are quite beautiful. I was surprised to find (by accident) that its most recent print issue contained a review of my book Kristian Fredrikson. Designer. See further information about this unexpected find at the end of this post.
The print version of issue #3 also had some articles of interest about dance in Australia. ‘Dance break’ is a short conversation with Imogen Chapman, current soloist with the Australian Ballet; ‘Creative Research with Pam Tanowitz’ is a conversation with the New York-based choreographer whose latest work will premiere shortly in Sydney as part of David Hallberg’s season, New York Dialects; and ‘A.B.T. Rising’ discusses four recent dance films including David, ‘an ode to David Hallberg’.
As to the review of the first issue mentioned above, some of the comments received following that post are more than interesting!
Coming soon in Canberra. The Point
Liz Lea is about to premiere her new work, The Point, at Belco Arts Centre, Canberra. It will open on 29 April, International Dance Day.
The Point. performed by a company of twelve dancers from across Australia and India, pursues Lea’s interest in connections across dance cultures, an appropriate theme for any International Dance Day event. It also looks at interconnections in design and music and takes inspiration from the designs of Walter Burley and Marion Mahoney Griffin, designers of the city of Canberra. A further source of inspiration is the notion of Bindu—the point of creation in Hindu mythology.
David McAllister and the Finnish National Ballet
Early in 2021, the Finnish National Ballet was due to premiere a new production of Swan Lake by David McAllister with designs by Gabriela Tylesova. The premiere was postponed until a later date. Read about it at this DanceTabs link.
And on the subject of McAllister, the National Portrait Gallery has a new photograph of McAllister and his partner Wesley Enoch on display in its current exhibition, Australian Love Stories. Looks like McAllister has his foot in an Esky in this particular shot! I am curious.
Kristian Fredrikson. Designer. More reviews and comments
Madelyn Coupe, ‘Light and dark of the human heart.’ Fjord Review, issue 3, 2020. pp. 43-45. Unfortunately this review is not available online. Read it, however, via this link (without the final image, which is of Dame Joan Sutherland in Lucrezia Borgia).
I will be giving a talk on Fredrikson for the Johnston Collection in Melbourne in June. Details at this link.
I have to admit to being slightly taken aback when I heard that Garry Stewart would relinquish his directorship of Australian Dance Theatre at the end of 2021. He leaves behind an incredible legacy I think. My first recollection of his choreography goes back to the time in the 1990s when he was running a company called Thwack! I recall in particular a production called Plastic Space, which was shown at the 1999 Melbourne Festival. It examined our preoccupation with aliens and I wrote in The Canberra Times, ‘[Stewart’s] dance-making is risky, physically daring and draws on a variety of sources….’ I also wrote program notes for that Melbourne Festival and remarked on three preoccupations I saw in his work. They were physical virtuosity, thematic abstraction and technology as a choreographic tool. Most of Stewart’s work that I have seen with ADT has continued to embody those concepts.
Although since the 1990s I have seen fewer Stewart works than I would have liked, the three that have engaged me most of all have beenG (2008), Monument (2013), which I regret was never seen outside Canberra, and The Beginning of Nature (2018), which won the 2018 Australian Dance Award for Outstanding Performance by a Company.
At this stage I don’t know where life will lead Garry Stewart after 2021 but I wish him every success. His contribution to dance in Australia has been exceptional.
Marguerite and Armand. The Royal Ballet Digital Season
The last time I saw Frederick Ashton’s Marguerite and Armand, made in 1963 for Margot Fonteyn and Rudolf Nureyev, was in 2018. Then I had the good fortune to see Alessandra Ferri and Federico Bonelli leading a strong Royal Ballet cast. It was in fact the standout performance on a triple bill. I also remember seeing a remarkable performance by Sylvia Guillem as Marguerite when the Royal visited Australia in 2002, although I was not so impressed with her partners. (I saw two performances with different dancers taking the male role on each of those occasions).
The streamed performance offered by the Royal Ballet recently featured Zenaida Yanowsky and Roberto Bolle. It was filmed in 2017 and was Yanowsky’s farewell performance with the Royal Ballet. She is a strong technician and a wonderful actor and her performance was exceptional in both those areas. Yet, I was somewhat disappointed. Bolle was perhaps not her ideal partner. Yanowsky is quite tall and seemed at times to overpower Bolle. But in addition I found her take on the role a little cold. She was extraordinarily elegant but I missed a certain emotional, perhaps even guileless quality that I saw in Ferri and Guillem.
La Fille mal gardée. The Royal Ballet
The Royal Ballet is once more streaming a performance of Frederick Ashton’s La Fille mal gardée, this time featuring Steven McRae and Natalia Osipova in the leading roles. But, as I was investigating the streaming conditions and watching the trailer, I came across a twelve minute mini-documentary about the ballet, focusing especially on its English qualities. It is a really entertaining and informative twelves minutes and includes footage of the beautifully groomed white pony, called Peregrine, who has a role in the ballet. We see him entering the Royal Opera House via the stage door and climbing the stairs to the stage area. Isn’t there a adage that says never share the stage with children or animals? Well Peregrine steals the show in this documentary! But there are many other moments of informative and lively discussion about the ballet and the documentary is worth watching. Link below.
The Australian Ballet on the International Stage. Lisa Tomasetti’s new book
Lisa Tomasetti is a photographer whose work I have admired for some time. She has a great eye for catching an unusual perspective on whatever she photographs. Late in 2020 she issued a book of photographs of the Australian Ballet on various of its international tours, including visits to London, New York (and elsewhere in the United States), Beijing, Tokyo and Paris. This book of exceptional images is available from Tomasetti’s website at this link.
Coming in April: The Oxford Handbook of Contemporary Ballet
The Oxford Handbook of Contemporary Ballet has been a long-time in production but it will be released in April. The book is extensive in scope with a wide list of contributors including scholars, critics and choreographers from across the world. Here is a link to information about the publication. The list of contents, extracted from the link, is at the end of this post.
Sir Robert Cohan (1925-2021)
I was sorry to hear that Sir Robert Cohan had died recently. He made a huge impact on contemporary dance and its development in the United Kingdom, and his influence on many Australian dancers and choreographers, including Sydney-based artists Patrick Harding-Irmer and Anca Frankenhaeuser, was exceptional. An obituary in The Guardian, written by Jane Pritchard, is at this link.
Kristian Fredrikson. Designer. More reviews and comments
The Canberra Times recently published a review of Kristian Fredrikson. Designer in its Saturday supplement, Panorama. The review was written by Emeritus Professor of Art History at the Australian National University, Sasha Grishin. Here is the review as it appeared in the print run of the paper on 16 January 2021.
The review is also available online at this link and is perhaps easier to read there.
CONTENTS FOR THE OXFORD HANDBOOK OF CONTEMPORARY BALLET
Acknowledgments About the Contributors Introduction On Contemporaneity in Ballet: Exchanges, Connections, and Directions in Form Kathrina Farrugia-Kriel and Jill Nunes Jensen Part I: Pioneers, or Game Changers Chapter 1: William Forsythe: Stuttgart, Frankfurt, and the Forsythescape Ann Nugent Chapter 2: Hans van Manen: Between Austerity and Expression Anna Seidl Chapter 3: Twyla Tharp’s Classical Impulse Kyle Bukhari Chapter 4: Ballet at the Margins: Karole Armitage and Bronislava Nijinska Molly Faulkner and Julia Gleich Chapter 5: Maguy Marin’s Social and Aesthetic Critique Mara Mandradjieff Chapter 6: Fusion and Renewal in the Works of Jiří Kylián Katja Vaghi Chapter 7: Wayne McGregor: Thwarting Expectation at The Royal Ballet Jo Butterworth and Wayne McGregor Part II: Reimaginings Chapter 8: Feminist Practices in Ballet: Katy Pyle and Ballez Gretchen Alterowitz Chapter 9: Contemporary Repetitions: Rhetorical Potential and The Nutcracker Michelle LaVigne Chapter 10: Mauro Bigonzetti: Reimagining Les Noces (1923) Kathrina Farrugia-Kriel Chapter 11: New Narratives from Old Texts: Contemporary Ballet in Australia Michelle Potter Chapter 12: Cathy Marston: Writing Ballets for Literary Dance(r)s Deborah Kate Norris Chapter 13: Jean-Christophe Maillot: Ballet, Untamed Laura Cappelle Chapter 14: Ballet Gone Wrong: Michael Clark’s Classical Deviations Arabella Stanger Part III: It’s Time Chapter 15: Dance Theatre of Harlem: Radical Black Female Bodies in Ballet Tanya Wideman-Davis Chapter 16: Huff! Puff! And Blow the House Down: Contemporary Ballet in South Africa Gerard M. Samuel Chapter 17: The Cuban Diaspora: Stories of Defection, Brain Drain and Brain Gain Lester Tomé Chapter 18: Balancing Reconciliation at The Royal Winnipeg Ballet Bridget Cauthery and Shawn Newman Chapter 19: Ballet Austin: So You Think You Can Choreograph Caroline Sutton Clark Chapter 20: Gender Progress and Interpretation in Ballet Duets Jennifer Fisher Chapter 21: John Cranko’s Stuttgart Ballet: A Legacy E. Hollister Mathis-Masury Chapter 22: “Ballet” Is a Dirty Word: Where Is Ballet in São Paulo? Henrique Rochelle Part IV: Composition Chapter 23: William Forsythe: Creating Ballet Anew Susan Leigh Foster Chapter 24: Amy Seiwert: Okay, Go! Improvising the Future of Ballet Ann Murphy Chapter 25: Costume Caroline O’Brien Chapter 26: Shapeshifters and Colombe’s Folds: Collective Affinities of Issey Miyake and William Forsythe Tamara Tomić-Vajagić Chapter 27: On Physicality and Narrative: Crystal Pite’s Flight Pattern (2017) Lucía Piquero Álvarez Chapter 28: Living in Counterpoint Norah Zuniga Shaw Chapter 29: Alexei Ratmansky’s Abstract-Narrative Ballet Anne Searcy Chapter 30: Talking Shop: Interviews with Justin Peck, Benjamin Millepied, and Troy Schumacher Roslyn Sulcas Part V: Exchanges Inform Chapter 31: Royal Ballet Flanders under Sidi Larbi Cherkaoui Lise Uytterhoeven Chapter 32: Akram Khan and English National Ballet Graham Watts Chapter 33: The Race of Contemporary Ballet: Interpellations of Africanist Aesthetics Thomas F. DeFrantz Chapter 34: Copy Rites Rachana Vajjhala Chapter 35: Transmitting Passione: Emio Greco and the Ballet National de Marseille Sarah Pini and John Sutton Chapter 36: Narratives of Progress and Les Ballets Jazz de Montréal Melissa Templeton Chapter 37: Mark Morris: Clarity, a Dash of Magic, and No Phony Baloney Gia Kourlas Part VI: The More Things Change . . . Chapter 38: Ratmansky: From Petipa to Now Apollinaire Scherr Chapter 39: James Kudelka: Love, Sex, and Death Amy Bowring and Tanya Evidente Chapter 40: Liam Scarlett: “Classicist’s Eye . . . Innovator’s Urge” Susan Cooper Chapter 41: Performing the Past in the Present: Uncovering the Foundations of Chinese Contemporary Ballet Rowan McLelland Chapter 42: Between Two Worlds: Christopher Wheeldon and The Royal Ballet Zoë Anderson Chapter 43: Christopher Wheeldon: An Englishman in New York Rachel Straus Chapter 44: The Disappearance of Poetry and the Very, Very Good Idea Freya Vass Chapter 45: Justin Peck: Everywhere We Go (2014), a Ballet Epic for Our Time Mindy Aloff Part VII: In Process Chapter 46: Weaving Apollo: Women’s Authorship and Neoclassical Ballet Emily Coates Chapter 47: What Is a Rehearsal in Ballet? Janice Ross Chapter 48: Gods, Angels, and Björk: David Dawson, Arthur Pita, and Contemporary Ballet Jennie Scholick Chapter 49: Alonzo King LINES Ballet: Voicing Dance Jill Nunes Jensen Chapter 50: Inside Enemy Thomas McManus Chapter 51: On “Contemporaneity” in Ballet and Contemporary Dance: Jeux in 1913 and 2016 Hanna Järvinen Chapter 52: Reclaiming the Studio: Observing the Choreographic Processes of Cathy Marston and Annabelle Lopez Ochoa Carrie Gaiser Casey Chapter 53: Contemporary Partnerships Russell Janzen Index
The best of everything to those who have followed this website over the past year. Thank you for your loyalty. And here’s hoping that 2021 will be one that is filled with dance, even live dance perhaps? Stay safe and healthy.
Highlights of 2020 (on and off stage)
I was very fortunate to see the opening night performance of Graeme Murphy’s The Happy Prince. It had a short run in Brisbane in February but showings elsewhere were cancelled due to the pandemic. I really would like to see it again as there was a lot there that needed a second look. I hope we will see it again, given that the leadership of the Australian Ballet has changed.
By mid year we were still not back in the theatre but Alison Plevey and her Australian Dance Party created Lake Marchin which, over several weekends in August, eight dancers, accompanied by two musicians, made their way around Canberra’s three lakes. They paused briefly on occasions to engage with each other and with the rather surprised audience of joggers, bike riders and so on who were also using the lakeside for exercise. Lake March won Plevey a Canberra Critics’ Circle award in December. The citation read:
For courageously working within the restrictive conditions generated by COVID-19 to bring an innovative and entertaining production of dance and live music, presented in several outdoor venues, to an audience of dance goers and the wider Canberra community. Alison Plevey for Lake March.
In October we were able to venture into the theatre for a QL2 Dance program featuring a work called Sympathetic Monsters by Jack Ziesing. It was an absorbing work in terms of its choreographic structure and in its thematic content.
Of course I watched many streamed performances over the course of 2020. It was more than interesting to see close-up images of faces and expressions and also details of costume. Nothing can replace a live performance but I derived much pleasure from streamed performances, especially from companies I wouldn’t normally see. Borrowed Light from Finland’s Tero Saarinen Company in collaboration with Boston Camerata was perhaps the most outstanding example. I was transfixed by this performance and have Jacob’s Pillow to thank for streaming it as part of the Pillow’s Virtual Festival 2020.
Sunil Kothari (1933–2020). Indian dance critic
I was saddened to hear of the death of Indian dance writer Sunil Kothari from complications of COVID-19. He visited Australia on a number of occasions and I recall a talk he gave in Canberra for the Canberra Critics’ Circle, several years ago now. He was a passionate advocate for dance and was a mentor to Padma Menon, who performed extensively in Canberra during the 1990s.
Kristian Fredrikson. Designer. More reviews and comments
Kristian Fredrikson. Designer featured as the ‘Publishing Spotlight’ in the Summer 2020–2021 edition of the newsletter of the Friends of the National Library of Australia. The review was written by Friends Committee Member and well known Canberra-based arts and craft specialist, Meredith Hinchliffe. Follow this link to read the review.
This month’s dance diary has an eclectic mix of news about dance from across the globe. I am beginning with a cry for help from a New Zealand initiative, Ballet Collective Aotearoa, led by Turid Revfeim, dancer, teacher, coach, mentor, director across many dance organisations. I am moved to do this as a result of two crowd funding projects I initiated when I was in a similar position and needed an injection of funds to help with the production of my recent Kristian Fredrikson book. I was overwhelmed by the generosity of the arts community. It made such a difference to what my book looked like and I will forever be grateful.
Ballet Collective Aotearoa
Ballet Collective Aotearoa was unsuccessful in its application to Creative New Zealand for funding to take its project, Subtle Dances, to Auckland and Dunedin in early 2021. The group has secured performances at the arts festivals at those two New Zealand cities. BCA’s line-up for Subtle Dances brings together a great mix of experienced professional dancers and recent graduates from the New Zealand School of Dance. They will perform new works by Cameron McMillan, Loughlan Prior and Sarah Knox.
For my Australia readers, Prior has strong Australian connections, having been born in Melbourne and educated at the Victorian College of the Arts Secondary School. Then, Cameron McMillan, a New Zealander by birth, trained at the Australian Ballet School and has danced with Australian Dance Theatre and Sydney Dance Company. And, dancing in the program will be William Fitzgerald who was brought up in Canberra, attended Radford College and has been a guest dance teacher there, and studied dance in Canberra with Kim Harvey.
The campaign to raise money for Turid Revfeim’s exceptional venture is via the New Zealand organisation, Boosted. See this link to contribute. See more on the BCA website.
Interconnect. Liz Lea Productions
Liz Lea’s Interconnect was presented as part of the annual DESIGN Canberra Festival and focused on connections between India and Canberra. The idea took inspiration from the designers of the city of Canberra, Walter Burley and Marion Mahoney Griffin, and from the fact that Walter Burley Griffin spent his last years in India where he died in Lucknow in 1937. As a result, the program featured a cross section of dance styles from Apsaras Arts Canberra, the Sadhanalaya School of Arts and several exponents of Western contemporary styles.
Interconnect was shown at Gorman Arts Centre in a space that was previously an art gallery. Physical distancing was observed, as we have come to expect. I enjoyed the through-line of humour that Lea is able to inject into all her works, including Interconnect. I was also taken by a short interlude called Connect in which Lea danced to live music played on electric guitar by Shane Hogan, and which featured on film in the background a line drawing of changing patterns created by Andrea McCuaig. Multiple connections there!
Choreographer Gray Veredon has put together a new website set out in several parts under the headings ‘The Challenge’, ‘New Ways in Set Design’, and ‘Influences and Masters’. His themes are developed using as background his recent work in Poland,A Midsummer Night’s Dream.
Gray Veredon’s website can be viewed at this link.
Jean Stewart, whose dance photographs I have used many times on this website, is the subject of a short video put together by the State Library of Victoria. Jean died in 2017 and donated her archive to the SLV. Here is the link to video. And below are two of my favourite photographs from other sources. I can’t get over the costumes in the background of the Coppélia shot! Is that Act II?
Other Stewart favourites appear in the brief tribute I wrote back in 2017.
Jacob’s Pillow fire
Devastating and heartbreaking news came from Jacob’s Pillow during November. Its Doris Duke Theatre was burnt to the ground.
Nina Popova, Russian born dancer who danced in Australia during the third Ballets Russes tour in 1939-1940, died in Florida in August 2020. I was especially saddened to learn that her death was a result of COVID-19.
Kristian Fredrikson. Designer. More comments and reviews
Kristian Fredrikson. Designer was ‘Highly Recommended’ on the Summer Reading Guide in its ‘Biography’ category.
Mention of it also appeared on the Australian Ballet’s site, Behind Ballet, Issue # 252 of 18 November 2020 with the following text:
KRISTIAN FREDRIKSON, DESIGNER A lavish new book by historian and curator Michelle Potter takes us inside the fascinating world of Fredrikson, whose rich and inventive designs grace so many of our productions. MORE INFO
I was also thrilled to receive just recently a message from Amitava Sarkar, whose photographs from Stanton Welch’s Pecos and Swan Lake for Houston Ballet are a magnificent addition to the book. He wrote: ‘Congratulations. What a worthwhile project in this area of minimal research.‘ He is absolutely right that design for the stage is an area of minimal research! Let’s hope it doesn’t always remain that way.
I recently had the opportunity to write a short article about Melbourne-based dancer and choreographer Jack Riley for The Canberra Times, my first piece of writing for this particular outlet in 50 weeks given certain changes that have happened to performing arts writing lately. My story had to have a particular focus and so I was not able to mention the commission Riley had from the University of Melbourne last year, which involved a trip to Florence, Italy, where he made a work called Duplex. The Canberra Times used neither the headshot nor an image from Florence, both of which were sent to me by Riley. But the Florence shot was so striking I have used it as the featured image for this month’s dance diary. A PDF of the story published in The Canberra Times is available at the end of this post. See ‘Press for October 2020’.
Jan Pinkerton (1963–2020)
I only recently heard the sad news that Jan Pinkerton, dancer and choreographer, had died in August. She performed with Sydney Dance Company, Australian Choreographic Ensemble (as a founding member), and Bangarra Dance Theatre. The eulogy at the funeral service was given by Lynn Ralph, general manager of Sydney Dance Company 1985–1991 and a long-term friend of Pinkerton. In it she told us the role Jan Pinkerton most liked performing was Act II of Graeme Murphy’s Nearly Beloved. I found the image below in the National Library’s collection and, in lieu of a detailed obituary, I am including it in this month’s dance diary.
Lynn Ralph’s eulogy is a moving one and contains words from Graeme Murphy and Janet Vernon as well as from Stephen Page. The funeral service was recorded and is available online.
Australian Dance Awards
The short lists for the Australian Dance Awards for 2018 and 2019, with the exception of the awards for Lifetime Achievement, have been released. The winners will be announced at a specially filmed event in December. Stay tuned for more. The short lists are available at this link.
Marge Champion (1919–2020)
Marge Champion, dancer and actor in Hollywood musicals of the 1950s, and inspiration to many over the years, has died in Los Angeles at the age of 101. I discovered that she had died via Norton Owen who posted the image below on his Facebook page.
In his brief comment about the relationship he had with her I found out one more thing about the Jacob’s Pillow site. Blake’s Barn, home of the incredible Jacob’s Pillow Archives, was named after Marge Champion’s son, Blake. The building’s donor was Marge Champion. She is seen in the video clip below dancing with her husband Gower Champion in the final scene from Lovely to Look At.
Kristian Fredrikson. Designer. More reviews and comments
Unity Books in Wellington hosted a lunchtime forum in its bookstore on 15 October. The forum was chaired by Jennifer Shennan and featured former Royal New Zealand Ballet dancers Kerry-Anne Gilberd, Anne Rowse and Sir Jon Trimmer.
A particularly interesting comment was made at the end of the discussion by John Smythe of the New Zealand review site, Theatreview. Smythe was playwright-in-residence with Melbourne Theatre Company when MTC was producing Shakespeare’s All’s Well that Ends Well, directed by Sir Tyrone Guthrie in 1970. He recalled that Sir Tyrone was taken aback by the costume for Helena in Act III (design reproduced in the book on p. 47) when he saw it during the tech run. He turned to Smythe and said ‘I’ve made a mistake. She’s got no business in that dress.’ Apparently he thought it was overly elaborate for the character he had drawn in his production but, knowing how much work had gone into the design and the making of the costume itself, he resolved not to tell Fredrikson but to live with the error. Smythe is seen below making his comment with the book open at the costume in question.
And on Twitter from Booksellers NZ: ‘Stopped by our local Unity Books & thrilled to have stumbled on a lunchtime talk including one of my heroes, the marvellous Sir Jon Trimmer. Celebrating the launch of Kristian Fredrikson: Designer by Michelle Potter.’
Press for October 2020
‘The Canberran dancer in an Archibald Portrait’. Story about dancer Jack Riley whose portrait by Marcus Wills achieved finalist status in the 2020 Archibald Prize and is hanging in the Art Gallery of NSW at present. The Canberra Times, 26 October 2020, p. 10. Here is a link to a PDF of the story.
Michelle Potter, 31 October 2020
Featured image: Jack Riley and Nikki Tarling in a moment from Duplex, 2019. Accademia di Belle Arti di Firenzi