Sir Kenneth MacMillan’s Romeo & Juliet
Transcript of Sir Kenneth MacMillan’s Romeo & Juliet
Sir Kenneth MacMillan’s
Romeo & JulietProudly presented by Suncorp
With Queensland Symphony Orchestra
28 AUGUST – 7 SEPTEMBER , 2019Lyric Theatre, QPAC
Romeo & Juliet28 AUGUST – 7 SEPTEMBER2019
Lyric Theatre,QPAC
Choreographer Sir Kenneth MacMillan
Composer Sergei Prokofiev
Staged by Julie Lincoln
Fight Director & Stager Gary Harris
Set & Costume Designer Paul Andrews
Lighting Designer John B Read
Principal Coach Leanne Benjamin
Lighting Recreated by Cameron Goerg
Conductor Nigel Gaynor
Guest Conductor Alondra de la Parra
Music performed by Queensland
Symphony Orchestra
This performance lasts approximately two hours and fifty
minutes with two intervals of twenty and fifteen minutes each.
Information correct at the time of printing.
Choreography taught from the Benesh Notation.
Cover and Title Page: Principal Artists Yanela Piñera and Camilo Ramos
Creative Direction Designfront Photography Juli Balla
Little moments,
lasting memories
Photography David Kelly
Creative Designfront
SuncorpPrincipal Partner of Queensland Ballet
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FROM THE ARTISTIC DIRECTOR
Ashton had chosen not to mount his own
production, which he had created for the Royal Danish
Ballet in 1955, amid concerns that his more intimate
interpretation would be compared unfavourably with
the Bolshoi Ballet’s grand, large-scale production
by Leonid Lavrovsky, brought to Covent Garden in
1956. MacMillan seized the chance, but he had less
than five months to create his first three-act ballet.
Arguably the beating heart of the work, MacMillan
had created the balcony pas de deux when his muse,
Royal Ballet Principal Lynn Seymour, asked for a duet to
perform on Canadian television in the summer of 1964.
He created the famous balcony pas de deux for Seymour
and fellow Principal Christopher Gable, and when given
the opportunity to produce the full-length ballet, he
continued to work closely with both dancers, having lengthy
discussions with them on the nuances of character.
MacMillan began by choreographing the ballet’s
remaining pas de deux. Romeo & Juliet was built around these
powerful duets, which offer unique intimacy, psychological
substance and technical depth for the dancers. They
also give the audience an almost voyeuristic insight into
Romeo and Juliet’s developing relationship. The effect is an
immediate empathy with the lovers, which makes watching
their terrible fate unfold such a moving experience.
MacMillan was always drawn to dark stories: his
subsequent ballets Manon (1974) and Mayerling (1978) are
also laced with bleakness and despair. Romeo & Juliet’s
enduring popularity lies in his approach to choreography,
and especially to characterisation. Asserting that he
was “sick of fairy-tales”, MacMillan was determined to
portray real life and raw emotion, explore psychological
motivations and depict human, fallible characters.
In contrast to its intimate scenes, the ballet also offers plenty
of grand spectacle, such as Act 1’s ballroom scene and the
exciting, nail-biting sword-fights. Shakespeare’s story has a rich
tapestry of characters, and MacMillan’s gift was to draw their
personalities as clearly as their actions drive the narrative.
For the premiere on 9 February, 1965, the title roles were
controversially given to Rudolf Nureyev and Margot Fonteyn,
as their names alone would guarantee box-office success.
When the curtain came down, the audience erupted into
rapturous applause, demanding a legendary 43 curtain calls.
Seymour and Gable danced as second cast, receiving rave
reviews for their fresh and spirited approach to the roles.
In terms of music and choreography, Queensland Ballet’s
production is essentially the same one that enthralled audiences
in 1965. The designs, however, were created for a production by
Birmingham Royal Ballet in 1992. MacMillan had seen the degree
show of young designer Paul Andrews, and approached him to
create the sets and costumes for Birmingham’s production.
Andrews took a subtler, more restrained approach than
original designer Nicholas Georgiadis had for the Royal Ballet’s
production. Atmospheric lighting by John B Read on Andrews’s
elegant, marbled set evoked the beauty of a Renaissance
painting. Over twenty years later, the sets remain a craftsman-
like canvas on which MacMillan’s extraordinary ballet comes
to spectacular life.
Sir Kenneth MacMillan’s approach to choreography and
characterisation was a revolutionary update to the genre of
narrative ballet. Romeo & Juliet told a realistic story of two
young lovers at the mercy of powerful social forces, characters
with whom the audience could identify. The balcony pas de
deux contains some of the most beautifully lyrical dancing
in the repertoire, overlaid with a simmering sexuality. As the
dying Juliet reaches for Romeo in the crypt, the lovers are
finally together yet separated by death, creating what is
surely one of ballet’s most dramatic and poignant moments.
ARTICLE EDITED BY JEAN ATTWATER
SIR KENNETH MACMILLAN’S ROMEO & JULIET
The Royal Ballet’s Artistic Director Frederick Ashton commissioned choreographer Kenneth MacMillan to create
Romeo & Juliet in September 1964.
Rom
eo &
Jul
iet
Greatest love story of all tim
e
Not only was it the ballet that broke a 54-year box
office record for Queensland Ballet back in 0014 and
marked the start of a remarkable period of growth for
our Company, it also put us on the global ballet map.
MacMillan’s Romeo & Juliet is certainly considered one of
the premiere versions of this classical ballet and Queensland
Ballet is only one of a small number of ballet companies in
the world granted the rights to perform this work. The trust
that Lady MacMillan placed in us as a company to deliver this
production, was a leap of faith at the time. We were a much
smaller company then, yet she saw our potential, believed
in our ability and our commitment to excellence.
When we first performed this production in 2014, we
brought out a raft of international ballet stars including Carlos
Acosta, Tamara Rojo and Steven McRae to supplement our
dancer numbers and to take on the lead roles. This year
I couldn’t be any prouder of the fact that Queensland Ballet
can stand on its own and deliver a world class performance
of this demanding production.
Romeo & Juliet was the first three act ballet that MacMillan
created and when it premiered in 1965 the title roles were
controversially given to superstars Rudolph Nureyev and
Margot Fonteyn despite being created on other dancers.
I’m thrilled that our very own dancers are taking on all the
lead roles in this season and doing so with such artistry, grace,
impeccable technique and passion.
They have had the privilege of training under the watchful
eyes of such ballet luminaries as Gary Harris, Leanne Benjamin,
Julie Lincoln and Lady MacMillan herself and we thank them
all for their whole-hearted investment in us as a Company.
It is a joy to be welcoming a number of former QB dancers back
to the stage for this production in character roles including
Rachael Walsh, Christian Tátchev, Zenia Tátcheva and Matthew
Lawrence as well as Steven Heathcote am of The Australian
Ballet. I’m sure many of you will recall their presence on stage
in our 2014 season of this ballet.
As a testament to our close partnership with the glorious
Queensland Symphony Orchestra, Music Director Alondra de la
Parra will conduct five select performances of our season, the
first time she has ever done so. It’s creative partnerships such
as this that allow us to continue to grow and diversify audiences
across our artforms and we couldn’t be happier to welcome
Alondra to our season.
As always, we are endlessly grateful to our partners who
generously enable seasons such as this through their ongoing
support. To our Presenting Partner Suncorp, I offer my heartfelt
thanks for their ongoing support and generosity, that has
allowed us to bring this magnificent season back to the QPAC
stage. I would also like to extend my gratitude to our State and
Federal Governments, and Major Partners JCDecaux, Sealy,
Shell’s QGC Business and Virgin Australia.
Over the years Sir Kenneth MacMillan has been hailed as
everything from a rebel, to one of the greatest choreographers
of his time, a lover of humanity, movement and expression.
This ballet shows why he was also one of the best choreographic
communicators and the master of the pas de deux. The lustrous
partnering, depth of characters, epic story scenes and flawless
musicality of this production is quite breath-taking.
I invite you to step into “fair Verona” with us, lose
yourself in this magnificent ballet that wonderfully weaves
through Shakespeare’s classic tale of young love, waring
families and tragic loss.
Li Cunxin AOARTISTIC DIRECTOR
There are a few ballets that hold special significance for me, all for quite different reasons. This ballet,
Sir Kenneth MacMillan’s Romeo & Juliet, is one such ballet.
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Based on the play by William
Shakespeare, believed to have been
written between 1591 and 1595.
The ballet is set in Verona.
Act 1
Scene 1The Market Place
Romeo, son of Montague, tries
unsuccessfully to declare his love for
Rosaline and is consoled by his friends
Mercutio and Benvolio. As day breaks
and the townspeople meet in the market
place, a quarrel develops between Tybalt,
a nephew of Capulet, and Romeo and his
friends. The Capulets and Montagues
are sworn enemies and a fight soon
begins. The Lords Montague and Capulet
join in the fray, which is stopped by the
appearance of the Prince of Verona, who
commands the families to end their feud.
Scene 0Juliet’s Ante-Room in the Capulets’ house
Juliet, playing with her nurse, is
interrupted by her parents, Lord and
Lady Capulet. They present her to Paris,
a wealthy young nobleman who has
asked for her hand in marriage.
Scene 0Outside the Capulets’ house
Guests arrive for a ball at the Capulets’
house. Romeo, Mercutio and Benvolio,
disguised in masks, decide to go in
pursuit of Rosaline.
Scene 4The Ballroom
Romeo and his friends arrive at the height
of the festivities. The guests watch Juliet
dance. Mercutio, seeing that Romeo is
entranced by her, dances to distract
attention from him. Tybalt recognises
Romeo and orders him to leave, but Lord
Capulet intervenes and welcomes him
as a guest in his house.
Scene 5Outside the Capulets’ House
As the guests leave the ball, Lord Capulet
restrains Tybalt from pursuing Romeo.
Scene 6Juliet’s balcony
Unable to sleep, Juliet comes out on
to her balcony and is thinking of Romeo,
when suddenly he appears in the garden.
They confess their love for each other.
INTERVAL
Act 2
Scene 1The Market Place
Romeo can think only of Juliet, and, as
a wedding procession passes, he dreams
of the day when he will marry her. In the
meantime, Juliet’s nurse pushes her way
through the crowds in search of Romeo
to give him a letter from Juliet. He reads
that Juliet has consented to be his wife.
Scene 0The Chapel
The lovers are secretly married by Friar
Lawrence, who hopes that their union
will end the strife between the Montagues
and Capulets.
Scene 0The Market Place
Interrupting the revelry, Tybalt fights with
Mercutio and kills him. Romeo avenges
the death of his friend and is exiled.
INTERVAL
Act 3
Scene 1The Bedroom
At dawn next morning, the household is
stirring and Romeo must go. He embraces
Juliet and leaves as her parents enter
with Paris. Juliet refuses to marry Paris
and, hurt by her rebuff, he leaves. Juliet’s
parents are angry and threaten to disown
her. Juliet rushes to see Friar Lawrence.
Did
my
hear
t lov
e ti
ll n
ow?
fors
wea
r it
, sig
ht!
For I ne’er saw
true beauty till this n
ight
Scene 0The Chapel
Juliet falls at the Friar’s feet and begs for
his help. He gives her a phial of sleeping
potion which will make her fall into a
deathlike sleep. Her parents, believing
her to be dead, will bury her in the family
tomb. Meanwhile Romeo, warned by Friar
Lawrence, will return under cover of
darkness and take her away from Verona.
Scene 0The Bedroom
That evening, Juliet agrees to marry
Paris; but next morning when her parents
arrive with him they find her apparently
lifeless on the bed.
Scene 4The Capulet Family Crypt
Romeo, who has not received the Friar’s
message, returns to Verona, stunned
by grief at the news of Juliet’s death.
Disguised as a monk, he enters the crypt,
and finding Paris by Juliet’s body, kills
him. Believing Juliet to be dead, Romeo
drinks a phial of poison. Juliet awakes
and, finding Romeo dead, stabs herself.
CHARACTERS
Montagues
Romeo Son of Lord
and Lady Montague
Mercutio Close friend
of Romeo
Benvolio Romeo’s Cousin
Lord Montague Romeo’s Father
Lady Montague Romeo’s Mother
Capulets
Juliet Daughter of Lord
and Lady Capulet
Tybalt Juliet’s Cousin
Lord Capulet Juliet’s Father
and Tybalt’s Cousin
Lady Capulet Juliet’s Mother
Rosaline Juliet’s Cousin
Paris A nobleman who
wishes to marry Juliet
Escalus Ruler of the Italian
city, Verona
Friar Lawrence Priest
THE STORY THE STORY
Queensland Ballet Artists. Romeo & Juliet 2014
Photography David Kelly
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Li Cunxin AO
ARTISTIC DIRECTOR
Par
tin
g is
suc
h sw
eet s
orro
wT
hat I shall say goodn
ight till it be m
orrowTHE CREATIVES
Sir Kenneth MacMillan CHOREOGRAPHER
THE CREATIVES
One of the most innovative choreographers of the
00th century, Sir Kenneth MacMillan created more than
60 ballets during a career of remarkable creativity. His
genius was in his ability to keep faith with his classical
foundation while marrying it to a strong theatricality
and deep emotional sensibility.
He literally revolutionised the language of ballet into
a powerful mirror of humanity. Born in Scotland in 1929,
MacMillan secured a scholarship to the Sadler’s Wells School
and in 1946, joined the Sadler’s Wells Theatre Ballet. Soon
after, he moved to the larger Sadler’s Wells company, based
at Covent Garden. Turning his hand to choreography, his first
ballet, Somnambulism, was performed on 1 February, 1953. The
following year, Ninette de Valois commissioned a new work from
him. Danses Concertantes immediately established MacMillan
as a choreographer of note. During a period of intense creativity,
he choreographed many works, including Noctambules,
Solitaire, Winter’s Eve and The Invitation. MacMillan’s definitive
production of Romeo & Juliet was commissioned by Sir
Frederick Ashton for the Royal Ballet, opening to rapturous
acclaim at Covent Garden on 9 February, 1965.
In 1966, MacMillan was invited to direct the ballet
company at Deutsche Oper in Berlin, where he staged his
own productions of The Sleeping Beauty and Swan Lake and
created the one-act ballet Anastasia (subsequently becoming
part of a full-length work). He assumed the directorship of the
Royal Ballet in 1970 and continued to choreograph, creating
Manon and Elite Syncopations. In 1976, MacMillan made
Requiem for Stuttgart Ballet and in 1978 created My Brother,
My Sisters. Mayerling was first produced at Covent Garden
on 14 February, 1978 and received a triumphant American
premiere in the same year. Later works included The Prince
of the Pagodas, Winter Dreams and Gloria, a lament for the
generation that perished in World War I. MacMillan created
his fifth full-length ballet, Isadora, in 1981. Kenneth MacMillan
was knighted in 1983 and in 1984, while remaining chief
choreographer of the Royal Ballet, he became Associate
Director of American Ballet Theatre for five years. There, he
staged two new works, Wild Boy and Requiem. Sir Kenneth
MacMIllan died in London in October, 1992 at the age of 62.
Li Cunxin ao has had a long and diverse career as an
internationally acclaimed dancer. He was appointed as
Queensland Ballet’s fifth Artistic Director in July 0010.
At the age of eleven, Li was selected by Madame Mao’s
cultural advisors to attend the Beijing Dance Academy. In 1979
he joined Houston Ballet as an exchange student and went on
to achieve the rank of Principal in 1982.
Amongst many awards and accolades, Li won two silver
and one bronze medal at three international ballet competitions,
and two Princess Grace Awards.
He moved to Melbourne in 1995 with his wife, dancer
Mary McKendry, to join The Australian Ballet as a Principal
Artist. Li retired from dancing in 1999 at the age of 38, but
maintained his strong ties to the ballet community.
Following his performing career, Li worked in the finance
industry as a senior manager at Bell Potter, one of the largest
stockbroking firms in Australia. Until his appointment as the
Artistic Director of Queensland Ballet, Li sat on the board of
The Australian Ballet from 2005 and the Bionics Institute.
In 2003 Li published his international best-selling
autobiography, Mao’s Last Dancer, which has received
numerous awards and was adapted as a feature film in 2009.
Li was Queensland’s Australian of the Year in 2014.
Li received an Order of Australia (AO) in the Queens
Birthday Honours List 2019 for his distinguished service to the
performing arts, particularly to ballet, as a dancer and as an
Artistic Director.
Julie LincolnSTAGER
English-born Julie Lincoln won a scholarship to
the Royal Academy of Dance before entering the Royal
Ballet School, where she won the Adeline Genée Silver
Medal. She then joined the Royal Ballet Touring Company,
transferring to the Royal Ballet at Covent Garden in 1900.
Her repertoire included leading roles in Coppélia, Les
Patineurs, Les Sylphides, Giselle and Pineapple Poll.
From 1985 to 1995, Julie was Ballet Mistress to the Royal
Ballet School, working closely with leading choreographers,
including Dame Ninette de Valois, Sir Frederick Ashton and
Sir Kenneth MacMillan. She has subsequently pursued an
international freelance career staging their works. She has
also been awarded Associateship of the Benesh Institute.
Of the MacMillan repertoire, Julie has staged The Rite
of Spring, Mayerling, Elite Syncopations, Concerto, Isadora,
The Sleeping Beauty, Manon, The Invitation, Solitaire, Soirées
Musicales and Romeo & Juliet. She has worked with many
companies, including the Royal Ballet, English National
Ballet, Scottish Ballet, Vienna State Opera, La Scala —
Milan, Hungarian State Ballet, Stanislavski Music Theatre —
Moscow, Royal Swedish Ballet, American Ballet Theatre,
National Ballet of Canada, New National Theatre —
Tokyo, Kobayashi Ballet Theatre — Tokyo, Universal Ballet —
Seoul, The Australian Ballet and Royal New Zealand Ballet.
Gary HarrisFIGHT DIRECTOR AND STAGER
London-born Gary Harris trained at the Royal
Ballet School, then joined the London Festival Ballet
(now English National Ballet) in 1908 and was one of
the company’s leading soloists.
He left in 1985 to pursue a freelance dance career,
performing in West End shows, including On Your Toes,
La Cage aux Folles and Phantom of the Opera.
Gary has worked internationally as a dancer, teacher,
répétiteur and designer. In 1991, he joined the Royal Ballet as
notator and répétiteur, working with choreographers such as
William Forsythe and Sir Kenneth MacMillan and re-staging
the works of Sir Fredrick Ashton.
Gary was Associate Artistic Director of Hong Kong Ballet
and then Artistic Director of Royal New Zealand Ballet from
2001 — 2010, where he re-staged Swan Lake, Paquita, Coppélia
and Giselle, and mounted new productions of The Nutcracker
and Don Quixote. Notable design commissions include The
Sleeping Beauty and Raymonda for National Ballet of China,
Christopher Hampson’s Double Concerto for English National
Ballet and Saltarello, Esquisses and The Sleeping Beauty for
Royal New Zealand Ballet. Gary continues to re-stage the
works of Kenneth MacMillan.
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THE CREATIVES THE CREATIVESO
Rom
eo, R
omeo
Wherefore art thou R
omeo?
Leanne Benjamin was born in Rockhampton,
Australia and began dancing at the age of three.
At 16 she moved to London to train at The Royal
Ballet School and while at the School won the Adeline
Genée gold medal, the Prix de Lausanne and at
the age of 18 performed Giselle at the Royal Ballet
School’s performance at The Royal Opera House.
In 1983 Leanne joined Sadler’s Wells Royal Ballet and was
promoted to principal in 1987; the following year she joined
London Festival Ballet as a principal and in 1990, the Deutsche
Oper Ballet in Berlin. It was there that Kenneth MacMillan asked
her to join the Royal Ballet and in 1992 she joined as a Soloist
and promoted to Principal within the year. Benjamin’s wide
repertory included most of the Classical and Neo-Classical
repertoire, and she created new roles for choreographers
including, Wayne McGregor, Alexei Ratmansky, Christopher
Wheeldon and Twyla Tharp. She was one of the last dancers
of The Royal Ballet to work with Ninette de Valois, Frederick
Ashton and Kenneth MacMillan. In both 2004 and 2009, she
was recognised as Best Female Dancer in the National Dance
Awards as determined by the prestigious Critic's Circle.
Benjamin retired at the end of the 2012/13 Season,
after 20 years as a Principal with The Royal Ballet and in
2013 she was awarded the De Valois Award for Outstanding
Achievement in Dance. In 2005 Benjamin received the OBE
in recognition of her services to dance and in 2015 she was
appointed a Member of the Order of Australia. In December
2014 Ms Benjamin was awarded the degree of Honorary
Doctor of Performing Arts by Central Queensland University
and in March 2016 Leanne was appointed a Governor of
The Royal Ballet Companies. Benjamin is a Patron of the
Tait Memorial Trust where an annual award is given in
her name to support young Australian Dancers to train in
the UK. Presently, Ms Benjamin works with a number of
international ballet companies as a coach to their principals,
She has coached for American Ballet Theatre at the MET,
Mayerling at Houston Ballet, and most recently, the principal
dancers at the Royal Ballet for their production of Giselle,
Romeo and Juliet and Mayerling. Ms Benjamin also acts
as a coach and mentor to the Royal Ballet Apprentices,
and coaches young aspiring pre-professionals dancers.
Leanne Benjamin OBE AM
PRINCIPAL COACH
Cameron GoergLIGHTING RECREATOR
Cameron Goerg has 18 years experience in technical
development and lighting design. He is currently
Technical Director for Queensland Ballet whilst also
taking on freelance lighting design commissions.
He has designed lighting most recently for Little
Green Road To Fairyland, Synergy 2019 — Magnetic Fields,
“The Cloud of Unknowing, Never, Stop Falling In Love,
Synergy 2018 — Lunar, Nocturne, Bespoke 2017 & 2018,
Glass Concerto, and many new works in Queensland Ballet’s
Dance Dialogues seasons. Cameron has recreated lighting
for Queensland Ballet’s productions of The Nutcracker from
2014 to 2018, Ghost Dances, The Firebird, Coppelia, Peter
Pan, Cinderella and Giselle and West Australian Ballet’s
La Bayadère. Other lighting designs include Queensland
Symphony Orchestra’s Carmen in Concert, Shake & Stir’s
Shakespeare Festival’s Macbeth and A Midsummer Night’s
Dream and Collusion Music’s Desirelines. During his time
with Queensland Ballet, Cameron has been involved in
the technical development of all productions including La
Bayadère, Peter Pan, Romeo & Juliet and Strictly Gershwin.
Paul AndrewsSET & COSTUME DESIGNER
Paul Andrews studied stage design at
Wimbledon School of Art and Design. After seeing
his degree show, Kenneth MacMillan asked him to
design the set and costumes for Romeo & Juliet.
He subsequently designed West Side Story for Irina Brown
(Cambridge Festival and on tour), All’s Well That Ends Well and
The Rivals (Theatr Clwyd — Wales), Father’s Day, The Taming
of the Shrew, Gypsy, The Merchant of Venice, Mail Order Bride,
The Sound of Music, King Lear, Call in the Night (West Yorkshire
Playhouse), Shostakovich’s Cheryomushki (Pimlico Opera/
Lyric Theatre, Hammersmith), Blood Libel (Norwich Playhouse),
Clocks and Whistles (Bush Theatre), A Midsummer Night’s
Dream (Southern Shakespeare Festival — Florida), A Doll’s
House (Birmingham Rep), Swan Lake (Norway Opera), Poor
Super Man (Manchester Royal Exchange), Grace Note and Hurly
Burly (Old Vic and West End), and Words Apart (Royal Ballet’s
Dance Bites). He also worked on the films Robin Hood, Prince
of Thieves (as Wardrobe Assistant and buyer) and Judge Dredd
(in conceptual costume design). Paul died in December 1997.
John B ReadLIGHTING DESIGNER
John B Read was consultant lighting designer
to the Royal Opera, the Royal Ballet and Birmingham
Royal Ballet from 1990 to 0005. He is largely
responsible for establishing lighting as an integral
part of dance presentation.
He has worked with many major choreographers,
notably with Sir Frederick Ashton, Sir Kenneth MacMillan,
Anthony Tudor, Glen Tetley, Jerome Robbins, Rudolf Nureyev,
Anthony Dowell, David Bintley, Natalia Makarova, Ronald
Hynd, Christopher Bruce, Wayne Eagling, Ulysses Dove and
Ashley Page. Works for the Royal Ballet Companies include
Swan Lake, The Nutcracker, The Snow Queen, Mayerling,
Anastasia, Frankenstein, La Bayadère and The Prince of the
Pagodas. John B Read works regularly with ballet companies
throughout Europe, North America, Australia and the Far
East, including the Stanislavski Music Theatre in Moscow.
He has lit frequently-revived productions for Rambert
Dance, London Contemporary Dance Theatre, London City
Ballet, English National/London Festival Ballet and Scottish
Ballet, and he designs regularly for opera and theatre.
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Alondra de la ParraGUEST CONDUCTOR
THE CREATIVESR
omeo
& J
ulie
t
Alondra de la Parra has gained widespread attention
for her spellbinding and vibrant performances and her
commitment to Latin American composers. She has
conducted over 100 of the world's most prestigious orchestras
including Orchestre de Paris, London Philharmonic
Orchestra, Tonhalle-Orchester Zürich, Bamberg Symphony,
Swedish Radio Symphony Orchestra, São Paulo Symphony
Orchestra, Berlin Radio Symphony Orchestra and
Orchestra dell'Accademia Nazionale di Santa Cecilia.
In 2017, she began her term as Music Director of the
Queensland Symphony Orchestra,making her the first ever Music
Director of an Australian orchestra. She is anofficial Cultural
Ambassador of Mexico, where she saw platinum-level sales
ofher first album "Mi Alma Mexicana" and, in March 2017, was
named brandambassador for Mercedes-Benz Mexico. In July
2017, Deutsche Welle created ‘Musica Maestra’, a new classical
format featuring Alondra de la Parra as both protagonist and
reporter in a series of several web videos and television shows.
In the 2019/20 season, she will return to Tonhalle-
Orchester Zürich, to Staatsoper Berlin for the resumption of
Yuval Sharon’s production of Mozart’s Zauberflöte and to Royal
Opera House in June 2020. She will conduct Tchaikovsky’s
Romeo and Juliet with Queensland Ballet in Brisbane, perform
a concert at Komische Oper Berlin with cellist Jan Vogler and
return to the Deutsche Kammerphilharmonie Bremen, which
she has been closely working with for several years now.
Alondra de la Parra will also celebrate debuts with the
Vienna Radio Symphony Orchestra at Musikverein Wien, Orchestre
Philharmonique du Luxembourg with Rolando Villazón, Frankfurt
Radio Symphony and Staatskapelle Dresden for the 2019 Christmas
Concert at Semperoper Dresden by the German TV channel ZDF.
Engagements of the last seasons include her subscription
debut with the NHK Symphony, her debut at Beethovenfest
Bonn, her celebrated return to Orchestre de Paris which was
broadcasted live by German-French TV channel Arte, appearances
with the Verbier Festival Orchestra, BBC Philharmonic, BBC
National Orchestra of Wales and a live orchestral performance
of the film West Side Story at Mexico's Auditorio Nacional as
well as the world premiere of the new production T.H.A.M.O.S
at Mozartwoche Salzburg, together with Camerata Salzburg
and the theatre collective La Fura dels Baus around Carlus
Padrissa, and her debut at the Festival de Pâques in Aix-en-Provence.
Supportingexcellence
Soloist Mia Heathcote & Company Artist Rian Thompson
Photography David Kelly
Sealy PosturepedicMajor Partner of Queensland Ballet
Nigel Gaynor MUSIC DIRECTOR AND PRINCIPAL CONDUCTOR
Nigel Gaynor is a highly acclaimed conductor of
ballet, and has conducted over 100 ballets during a
career spanning 05 years. Born in Sydney, he worked with
The Australian Ballet for 16 years, before relocating to
the United Kingdom in 1998. While living in England he
worked with The Royal Ballet, English National Ballet,
and Northern Ballet.
Some of his career highlights include working with Rudolf
Nureyev, Sir Robert Helpmann and Jiří Kylián; conducting The
Australian Ballet’s Red Earth on live television, and collaborating
on new ballets with choreographers Graeme Murphy, Wayne
McGregor, Greg Horsman and Liam Scarlett. In 2004, Nigel made
his debut in Royal Albert Hall conducting Derek Deane’s Swan Lake
with English National Ballet. Orchestras he has conducted include
The Royal Sinfonia, Tokyo Philharmonic, Shanghai Philharmonic,
The Siberian State Symphony Orchestra, Hong Kong Sinfonia,
New Zealand Symphony, The Tasmanian Symphony, Queensland
Symphony, West Australian Symphony, Adelaide Symphony,
Orchestra Victoria and The Australian Opera and Ballet Orchestra.
In 2011, Nigel was engaged by Royal New Zealand Ballet
(RNZB) to arrange and conduct Greg Horsman’s The Sleeping
Beauty. In 2013, Ethan Stiefel appointed Nigel Music Director of
RNZB. For A Midsummer Night’s Dream, he created a new score
and arrangements to weave together the vision of choreographer
Liam Scarlett with Mendelssohn’s dazzling overture, incidental
music, symphonies and piano music. In 2014, Li Cunxin invited
Nigel to guest in Queensland Ballet’s season of Romeo & Juliet,
in which he conducted the performances of Carlos Acosta. More
recently he re-orchestrated La Bayadère for Greg Horsman’s new
production at Queensland Ballet. Nigel joined Queensland Ballet
as Music Director and Principal Conductor in 2016.
10
10
PRINCIPAL ARTISTS PRINCIPAL ARTISTSD
id m
y he
art l
ove
till
now
? fo
rsw
ear
it, s
ight
!For I n
e’er saw true b
eauty till this night
Victor Estévez
With numerous awards through
his time at the Cuban National Ballet
school, Victor was considered one
of the stars of a new generation of
Cuban dancers, joining the National
Ballet of Cuba in 0011 following a
promotion to Premier Dancer in 0015.
His repertoire includes traditional-
classical principal roles in ballets such as
Giselle, Don Quixote, Coppelia, Swan Lake,
La Bayadère, The Nutcracker and some
contemporary work by highly-acclaimed
choreographers of today including Liam
Scarlett and Carlos Acosta. Victor has
toured extensively throughout Europe,
South America, Africa and Asia. During his
time with the National Ballet of Cuba he
performed in the 3rd International Ballet
Gala in Buenos Aires in 2013, Gala of the
9th Ballet Festival of Cali in 2014, Ballet Star
Gala of the 3rd Beijing International Ballet
and Choreography Competition in 2015
and Dortmund Ballet Gala in 2018. Victor
made his debut with Queensland Ballet
in 2015 as Principal Guest Artist in Greg
Horsman’s Sleeping Beauty before joining
the company as Principal Artist in 2016.
Lucy Green
Lucy was born in Sydney and
graduated from the Victorian College
of the Arts Secondary School before
joining the Royal New Zealand Ballet
(RNZB) in 0010.
Lucy performed many principal and
lead roles during her time with RNZB
including in Cinderella, Giselle and Swan
Lake. She performed internationally with
RNZB including tours to China, US, UK and
Italy. In 2015, Lucy was invited by Scotland
Ballet to perform as a Guest Principal
Artist in RNZB’s production of Cinderella.
In Queensland Ballet and RNZB’s co-
production of Liam Scarlett’s A Midsummer
Night’s Dream, Lucy danced the role of
Titania and worked with Liam to create
the role of Mustard Seed. Lucy joined
Queensland Ballet as Senior Soloist in 2017,
and was later promoted to Principal Artist
following her performance of Tinkerbell in
Trey McIntyre’s Peter Pan.
Laura Hidalgo
Laura was born in Argentina
and trained at L’Institut
Supérieur d’Art in France.
She is the recipient of numerous
international awards, including the Gold
Medal and Grand Prix at the International
Ballet Festival of Havana, Gold Medal at
the Luxembourg International Competition
and the Best Artist Award at the Varna
International Competition in Bulgaria. Laura
joined the American Ballet Theatre in 2002
and in 2006 she relocated to Europe where
she danced with companies including Het
National Ballet and Staatstheater Nürnberg.
Laura joined the Royal Ballet of Flanders
in 2010 and became Principal Dancer
shortly after joining the company. Laura
is a Guest Principal with the Slovenian
National Ballet and joined Queensland
Ballet as a Principal Artist in 2015.
Yanela Piñera
Yanela completed her ballet
training at the Cuba National School
of Ballet and received numerous
awards including a Silver Medal at
the International Ballet Competition
Varna, Bulgaria and Gold Medals in
0000 and 0004 at the International
Competition in Havana, and the Best
Artist Award in 0004.
She joined the Ballet Nacional de
Cuba in 2005, was promoted to Principal
Dancer in 2009 and to Premier Dancer in
2011 and has performed at international
ballet festivals and galas including the
2004 Dance Festival of Córdoba in Mexico;
Galas of the Central School of Ballet in
London; the 2011 Viva Alicia at the Bolshoi,
Moscow and the 2014 International Ballet
Gala in Germany. Her repertoire includes
classical and contemporary ballets by
Cuban and international choreographers.
Yanela joined Queensland Ballet as a Guest
International Principal in 2015 and became
a member of the Company in 2016. In
2017 she participated in the International
Ballet Gala in Jakarta, Indonesia and
was nominated for the Australian Dance
Award for Outstanding Performance by
a Female Dancer for her performance in
Greg Horsman’s Glass Concerto (2017).
Camilo Ramos
Camilo began his ballet training
at the Elementary School of Balet Alejo
Carpentier, continuing his training at
the Cuba National School of Ballet.
He received several awards of note
during his training. Camilo joined the Ballet
Nacional de Cuba in 2008, was promoted
to Soloist in 2010 and Principal in 2011.
He has performed in several countries
including Latin America, Canada, the
USA, Italy and the United Kingdom. His
repertoire includes soloist and principal
roles in classical and contemporary ballets.
Camilo joined Queensland Ballet as a
Soloist in 2015 and became Senior Soloist
in 2017, later being promoted to Principal
Artist following his performance of the title
role in Trey McIntyre’s Peter Pan.
15
14
Par
tin
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suc
h sw
eet s
orro
wT
hat I shall say goodn
ight till it be m
orrowSENIOR SOLOISTS SOLOISTS
Alexander Idaszak
Born in Sydney, Alexander undertook his ballet
training at the McDonald College of Performing Arts
School, taught by Josephine Jason and Alan Cross.
Alexander then completed his formal ballet training at
The Australian Ballet School. He joined Queensland Ballet
as a Company Dancer in January 2013, was then promoted
to Demi-Soloist in 2016 and became Soloist in 2017. In 2014,
Alexander danced with the Royal New Zealand Ballet (RNZB)
before returning to Queensland Ballet in 2015. In 2016 he
was awarded Queensland Ballet’s Khitercs Hirai Foundation
scholarship for professional development travel. In 2017,
Alexander was invited by the Shanghai Ballet to perform
the role of Prince Siegfried alongside Iana Salenko in Swan
Lake in Antwerp, Belgium. Alexander’s repertoire highlights
include the Prince in Ben Stevenson’s The Nutcracker,
Oberon in Liam Scarlett’s A Midsummer Night’s Dream,
Albrecht in Giselle and Ben Stevenson’s Three Preludes
as well as a wide range of contemporary works. Following
his performance of Vicomte de Valmont in Dangerous
Liaisons (2019) Alex was promoted to Senior Soloist.
Kohei Iwamoto
Born in Japan, Kohei began his training at age 11
at Sadamathu and Hamada Ballet Studio where he
received the Senior Second Prize at the Youth America
Grand Prix competition, Japan.
Kohei continued his training at The Australian Ballet
School and upon graduating, joined the Royal New Zealand
Ballet in 2010. He has toured both nationally and internationally
to China, Europe and America, and performed notable roles
including Prince Siegfried in Swan Lake, Albrecht in Giselle,
Puck in A Midsummer Night's Dream and Romeo in Romeo &
Juliet. Continuing his career, Kohei joined Queensland Ballet
in 2018 and was promoted to Senior Soloist following his
performance as Solor in La Bayadère.
Joel Woellner
Joel was born in Sydney and had his early training
at Ettingshausens Dynamic Arts under Jo Ansell and
Kim Traynor.
After competing in the finals of Youth America Grand
Prix 2011, Joel was awarded a full scholarship to the Ben
Stevenson Academy in Houston, Texas as part of the Houston
Ballet ll Company.
A dual prize winner of the Prix de Lausanne, Joel
graduated from the Ben Stevenson Academy with the Best
Dancer award. After representing Houston Ballet at the Jacob’s
Pillow Dance Festival in Massachusetts, Joel joined Houston
Ballet as an Apprentice in 2013. He was promoted to Corps de
Ballet in 2014 and toured extensively with the company, before
joining Queensland Ballet as Company Artist in 2015. Following
his performance as Prince Siegfried in Swan Lake, Joel was
promoted to Soloist in 2017, and then to Senior Soloist in 2018,
following his performance as Solor in La Bayadère.
Vito Bernasconi
Vito Bernasconi began his training at Academy
Ballet under the directorship of Nicholina Kuner.
He graduated from The Australian Ballet School and
immediately joined Queensland Ballet in 0010.
In 2014, he performed Mercutio and Tybalt in Sir Kenneth
Macmillan’s Romeo & Juliet, for which he was nominated for
an Australian Dance Award for Most Outstanding Performance
by a Male Dancer. A second nomination of the same award
followed in 2016 for Tico Tico in Paul Taylor’s Company B. He
has performed numerous Principal roles in both classical and
contemporary productions including Prince in The Nutcracker,
Colas in La Fille Mal Gardée, The American, The Man I Love
and Summertime in Derek Deane’s Strictly Gershwin, Ghost and
Husband roles in Ghost Dances and Koschei in The Firebird.
Many new works have been created on him by choreographers
such as Ma Cong, Gabrielle Nankerville, Stephanie Lake and
Jack Lister. He has also choreographed 2 Pas De Deux’s;
La Mente and Seguì. In 2017, Vito was promoted to Soloist.
Mia Heathcote
Mia was born in Melbourne and began her ballet
training at the age of four, with Anna Veretennikova,
and then Jane Moore.
Mia joined The Australian Ballet School in 2010 and during
her time there she received an Advanced Diploma of Dance,
The Graeme Murphy Award for Excellence in contemporary
dance and the Award for Excellence in classical ballet. Mia joined
Queensland Ballet as a Company Dancer in January 2014 and has
danced featured roles in many productions, including Titania in
A Midsummer Night’s Dream and Odette in Swan Lake. Mia was
a dual recipient of the Energex Rachael Walsh Artistic Award 2015
and received the Khitercs Hirai International Scholarship in 2016.
In 2017, Mia was promoted to Soloist following her performance
of Wendy in Trey McIntyre’s Peter Pan.
Lina Kim
Lina Kim-Wheatstone was born in South Korea and
started ballet when she was four years old.
Her family moved to Australia when she was 11 where she
trained under Janice Heale before graduating from Queensland
Dance School of Excellence with the Most Outstanding Dancer
award. Lina was named Artist to Watch in the 2014 Dance
Australia Critics Survey. From 2008 Lina trained with the
company and joined as a Trainee Dancer in 2010. In 2011 she
became a Company Dancer, was promoted to Demi-Soloist in
June 2016 and became Soloist in 2017. Lina has toured both
nationally and internationally with the company, including China
and London. She was invited to perform at the Dance Salad
Festival in Houston in 2015. Lina was a recipient of the Khitercs
Hirai International Study Tour Scholarship in 2015.
10
16
O R
omeo
, Rom
eoW
herefore art thou Rom
eo?SOLOISTS COMPANY ARTISTS
Pol Andrés Thió D’Arcy Brazier Mali Comlekci Luke Dimattina Zhi Fang Talia Fidra
Josephine Frick Liam Geck Chiara Gonzalez Serena Green Tamara Hanton Alyssa Kelty
Daniel Kempson Dylan Lackey Jack Lister Tonia Looker Vanessa Morelli Eriko Nakajima
Libby-Rose Niederer Suguru Otsuka Samuel Packer David Power Patricio Revé Lou Spichtig
Isabella Swietlicki Ari Thompson Rian Thompson Laura Tosar Ze Wu Sophie Zoricic
Georgia Swan
Georgia was born in Ballarat, Victoria and trained
with Carole Oliver School of Ballet, Victorian College of
the Arts Secondary School and Queensland Ballet Pre-
Professional Program.
Georgia has danced featured roles in several productions
including Snow Queen and Lead Flower, and Sugar Plum
Fairy in Ben Stevenson’s The Nutcracker, Odette/Odile in
Ben Stevenson’s Swan Lake, Principal in Greg Horsman’s
Verdi Variations, Soloist in Derek Deane’s Strictly Gershwin
and Edith in Greg Horsman’s La Bayadère. Georgia was a
selected candidate for the 2014 Prix de Lausanne and won
the Cecchetti Gold Medal in Victoria in 2012 and the inaugural
Valrene Tweedie Ballet Scholarship in 2013. In 2015, she
returned to Prix de Lausanne to perform in Greg Horsman’s
Glass Concerto. Georgia joined Queensland Ballet as a Jette
Parker Young Artist in 2015 and Company Artist in 2016, then
was promoted to Soloist in 2018.
Neneka Yoshida
Neneka was born in Kanazawa, Japan and trained
with Keiko Miyanishi before moving to Paris studying
with Dominique Khalfouni and Victor Ullate in Spain.
She attended the Conservatoire National Supérieur de
Musique et de Danse de Paris and was taught by Claude
de Vulpian and Celine Talon.
Neneka joined Queensland Ballet in 2014 as a Jette Parker
Young Artist, before being promoted to Company Artist in 2015,
and Soloist in 2018 after her performance as Nikiya in Greg
Horman’s La Bayadère. Neneka has also danced featured roles
in several productions including Clara and Sugar Plum Fairy
in Ben Stevensen’s The Nutcracker and Odile in Ben
Stevenson’s Swan Lake.
Neneka was awarded the Gold Medal of Concours
International de Danse de Biarritz and the Gold Medal of
Concours International Chausson d’Or in 2012. She was also
a finalist at the Prix de Lausanne in 2013.
19
18
Steven Heathcote AM
Born in Western Australia, Steven Heathcote began
ballet lessons at the age of ten and was accepted into
The Australian Ballet School at 16. He was invited to join
The Australian Ballet in 1980, where he rapidly rose to
Principal Artist, a position he sustained for twenty years.
Steven has performed as Guest Artist with some of the
world’s major ballet companies, including American Ballet
Theatre, Birmingham Royal Ballet at Covent Garden, the
Royal Danish Ballet and the Mariinski ballet in St Petersburg.
In 1992, Steven was awarded an Order of Australia for
Services to Dance. After retiring from the stage in 2007
as The Australian Ballet’s longest-serving Principal Artist,
Steven appeared in the 2009 feature film, Mao’s Last Dancer.
In 2010, he conceived and directed a new production of
Handel’s Julius Caesar for Victorian Opera, and in 2012, he
was choreographer and assistant director to John Bell for that
company’s production of The Rake’s Progress. Steven again
assisted John Bell for Opera Australia’s new production of
Tosca in 2013. He is also engaged in coaching for dancers and
is currently working with dancers of The Australian Ballet.
Rom
eo &
Jul
iet
Greatest love story of all tim
eCHARACTER ARTISTSCOMPANY APPRENTICES
JETTE PARKER YOUNG ARTISTS
Matthew Lawrence
New Zealand born Matthew Lawrence began his
dance career with The Australian Ballet, where in 0004 he
rose to the rank of Principal Dancer before relocating to
Birmingham Royal Ballet as Principal Dancer in 0000. In
0010, he returned to Australia under the draw of working
with Queensland Ballet Artistic Director Li Cunxin.
During his 18-year career he performed the canon of
classical repertoire alongside modern classics, and was coached
by luminaries such as Anthony Dowell, Peter Wright, David
Bintley and Patrice Bart. Since retiring in 2014, Matthew has
taught extensively in a variety of settings, from the Australian
Ballet and Queensland University of Technology (QUT), to
QB’s Dance for Parkinson’s Program and as ambassador for the
Royal Academy of Dance’s Project B. Creatively Matthew has
choreographed works for Birmingham Royal Ballet, Queensland
Ballet, QUT and other leading dance institutions in Australia
and abroad. He is also a Character Artist with QB, columnist
for Dance Australia and panellist for the Ausdance Awards.
Mary Li
Mary Li (formerly Mary McKendry) began her dance
training in Australia and continued at the Royal Ballet
School in London.
She joined London Festival Ballet (English National
Ballet) in 1977 and was promoted to Principal Dancer in 1981.
She joined Houston Ballet in 1985. During her performing
career, Mary danced principal roles in all the major classical
ballets, as well as leading roles in contemporary ballets.
Many new ballets were created on her. She has worked with
legendary teachers, choreographers, artistic directors and
artists, including Rudolf Nureyev, Glen Tetley, Dame Margot
Fonteyn and many others. Mary and her husband Li Cunxin
have danced together all over the world.
Since retiring from dancing in 1992, Mary has been invited
to teach and coach in many international ballet companies.
She was a teacher and coach for The Australian Ballet for 10
years and joined Queensland Ballet as Ballet Mistress in 2013.
Shaun Curtis Noah Dunlop
JETTE PARKER YOUNG ARTISTS
PRE PROFES SIONAL PROGRAM
Kieren Bofinger
Dayna Booth
Annika Bounkeua
Brendan Brown
William Cheung
Jacob Cuddon
Dani Gibson
Megan Hansen
Callum Hendry-Hodson
Lucy Hogan
Caitlin Jonker
Callum Mackie
Charlie Morton
Katie Shawsmith
Kayla Van den Bogert
Maggie Bryan Lucy Christodoulou Oscar Delbao Jamie Delmonte Clayton Forsyth Renee Freeman
Kaho Kato Bronte Kielly-Coleman John Paul Lowe Edward Pope Charlie Slater Hayley Thompson
SENIOR PROGRAM
Max Aitken
Jaxon Boughton
Sarah Eccleston
Henriette Hartl
Edison Manuel
Joshua Ostermann
Rowan Schratzberger
Phoebe Walsh
AS SOCIATE PROGRAM
Charlie Dunn
Max Hering
Thomas Reardon
Cooper Tate
Sol Ward
Xavier Xue
CHAPERONE Sheilagh Gaddes
The Jette Parker Young Artist Program is
generously supported by Oak Foundation
together with Brett & Maria Clark,
Frazer Family Foundation, Patricia Macdonald
Memorial Foundation, Catriona & Simon
Mordant am, C P Morris, Liz & Graeme Wikman.
EXTRA COMPANY ARTISTS
Jayden Grogan
Paige Rochester
01
00
Did
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ow?
fors
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r it
, sig
ht!
For I ne’er saw
true beauty till this n
ightCHARACTER ARTISTS CHARACTER ARTISTS
Christian Tátchev
Queensland Ballet Academy Director, Christian
Tátchev, trained at the National School of Choreography
in Sofia, Bulgaria. Performing his first leading roles
shortly after commencing his professional career at age
16, Christian was promoted to Principal Artist at 01. His
repertoire includes principal roles in the major classical
repertoire as well as in numerous works by celebrated
choreographers of modern times.
During his dancing career, Christian worked with The
Sofia National Opera and Ballet, Bulgarian contemporary dance
company Ballet Arabesque, PACT Ballet (Johannesburg), Cape
Town City Ballet and the South African Ballet Theatre, where in
addition being a Principal Artist, he was engaged as a Répétiteur.
Christian joined Queensland Ballet (QB), Australia,
after participating in the Company’s 2008 International
Gala. Following his retirement from the stage in 2011, he was
appointed QB’s Ballet Master. He took up the position of
Director of Training in 2013 and became the Queensland Ballet
Academy Director in 2016. Christian continues to perform with
the Company as a Character Artist and frequently adjudicates
for various national and international ballet competitions.
Zenia Tátcheva
Zenia Tátcheva received her ballet training at
the University of Cape Town Ballet School and enjoyed
a successful career with CAPAB, PACT Ballet and the
South African Ballet Theater. She joined Queensland
Ballet in 0008 after performing as a Guest Artist in
the company’s International Gala that year, retiring
from the stage in 0010.
With the above companies Zenia has performed principal
roles in most major classical ballets such as Swan Lake,
The Nutcracker, Cinderella, Giselle, The Sleeping Beauty,
Paquita, Chopiniana, La Sylphide, Napoli, Don Quixote,
Romeo & Juliet and Papillon, as well as works by renowned
choreographers of modern times.
Parallel to her dancing career, Zenia has been engaged
as a teacher by Mzanzi Dance Company, the National School
of the Arts and the South African Ballet Theatre Academy
in Johannesburg.
After her retirement from stage, Zenia took the position
of classical coach with the Queensland Ballet Academy where
she is currently involved in the training and development of
students across Senior Program and Pre-Professional levels.
She has served as an adjudicator for various national and
international ballet competitions.
Janette Mulligan
Janette graduated as Dux of the Australian Ballet
School before accepting a contract with English National
Ballet. She was promoted and performed as a Senior
Principal for 10 years.
Performing internationally, Janette’s extensive repertoire
included performing the great major ballets with such partners
as Rudolf Nureyev, Peter Schaufuss, Fernando Bujones,
Patrick Armand, Keven McKenzie, Matz Skoog, Ben Van
Cauwenberg, Martin James, Alexander Sombart, Martyn
Fleming and Ashley Wheater.
Janette won critical acclaim for her role in Ben Stevenson’s
Three Preludes and Christopher Bruce’s Land. She performed
the lead roles in ballets created by Alvin Ailey, Glen Tetley,
Harold Lander, Ronald Hynd, George Balanchine, Roland Petit,
John Cranko and John Neumier. Janette has also worked with
Dame Margot Fonteyn, Sir Kenneth McMillan, Dame Alicia
Markova, Natalia Makarova, Graeme Murphy and Ben Stevenson.
On retiring, Janette accepted the role of Ballet Mistress
with the Royal Danish Ballet and guest teacher at the English
National Ballet, Opera du Rhin, Ballet Rambert, Hong Kong
Academy of Performing Arts, The Australian Ballet, Royal New
Zealand Ballet and Sydney Dance Company. Janette joined
Queensland Ballet in 2013 as Ballet Mistress.
Rachael Walsh
Rachael graduated from The Australian Ballet
School and joined Queensland Ballet in 1998. She was
promoted to Principal Dancer in 0000; dancing with
the Company for 10 years.
In addition to performing Principal roles in many classical
and contemporary ballets, including Giselle, Swan Lake, Romeo
& Juliet, The Sleeping Beauty, Nutcracker and Don Quixote,
Rachael has enjoyed the creative process and collaboration
during the making of character-driven dramatic ballets such
as Carmen, A Streetcar Named Desire, The Little Mermaid, and
François Klaus’s, Cloudland. Her signature roles include Carmen,
Juliet and Giselle. In 2014 Rachael staged Nils Christe’s ballet
Short Dialogues for the Flourish program and again in 2015 in
Houston, Texas for the international dance festival, Dance Salad.
Rachael retired from ballet following her performance as Lady
Capulet in Sir Kenneth MacMillan's Romeo & Juliet. In 2016
she donned tap shoes to great acclaim in Derek Dean's Strictly
Gershwin and in 2019 for the role of Madame de Volanges in
Liam Scarlett's Dangerous Liaisons. Rachael continues to work
with the Company in business development and philanthropy, a
Principal character artist and as a mentor for dancers nationwide.
00
00
Rani LutherBALLET MISTRES S & CREATIVE AS SOCIATE
Born in Melbourne, Rani attended the Victorian
College of the Arts Secondary School before beginning
her professional career with Kiel Ballet Company
Germany in 1990, then with world-renowned Netherlands
Dance Theatre 0 and Netherlands Dance Theatre 1.
In 0000 Rani returned home to join The Australian
Ballet Company, then Sydney Dance Company in 0000
and retired from stage as principal with Melbourne
Ballet Company in 0011.
Rani has had the great pleasure of working with
choreographers such as Jiří Kylián, Hans Van Manen, Paul
Lightfoot, Ohad Naharin, William Forsythe, Edward Liang,
Graeme Murphy, Stephan Page and Rafael Bonachela. She
won gold at the Sanlam International Ballet Competition,
South Africa 1993, the outstanding performance award in
the City of Sydney Ballet Scholarship 1994, and received a
nomination for best female dancer in the Green Room Award
2006 for her roles in Relic and Jiri with The Australian Ballet.
Rani’s choreographic creations include works for
NDT Workshop performances 2001/2002, Face the Music
Carriageworks Sydney 2012, Illuminate for MBC 2016, Outside
In for Sydney Dance Company PPY 2017 and Lunar for
Queensland Ballet’s inaugural season of Synergy 2018. Rani
was appointed Ballet Mistress and Creative Associate in 2019.
Par
tin
g is
suc
h sw
eet s
orro
wT
hat I shall say goodn
ight till it be m
orrowARTISTIC STAFF ARTISTIC STAFF
Liam ScarlettARTISTIC AS SOCIATE
English choreographer Liam Scarlett trained at
The Royal Ballet School and danced with The Royal
Ballet, retiring as a dancer in 0010 to focus on his
choreographic career. That year he was appointed
The Royal Ballet’s first Artist in Residence.
His works for The Royal Ballet include Despite and
Vayamos al Diablo (2006), Consolations and Liebestraum
(2009 — nominated for a Critics’ Circle Award), Asphodel
Meadows (2010 — nominated for a South Bank Award and
an Olivier Award, and winner of a Critics’ Circle Award),
Sweet Violets, ‘Diana and Actaeon’ from Metamorphosis:
Titian 2012 (2012), Hansel and Gretel (2013), the Jubilee
pas de deux in celebration of HM The Queen’s Diamond
Jubilee, The Age of Anxiety and Summertime.
In 2018 Liam’s production of Swan Lake premiered at
The Royal Ballet. Works for other companies include Viscera
(2012) and Euphotic (2013) for Miami City Ballet (also
designed by Liam), The Firebird for the Norwegian National
Ballet (2013) and performed by Queensland Ballet (2018),
Hummingbird for the San Francisco Ballet (2014), No Man’s
Land for English National Ballet (2014), With a Chance
of Rain for ABT (2014), Carmen for Norwegian National
Ballet (2015), A Midsummer Night’s Dream co-produced
for Royal New Zealand Ballet and Queensland Ballet (2015),
Fearful Symmetries for the San Francisco Ballet (2016),
Frankenstein co-produced for The Royal Ballet and San
Francisco Ballet (2016) and Dangerous Liaisons (2019) co-
produced for Queensland Ballet and Texas Ballet Theater.
Greg HorsmanCHIEF BALLET MASTER & DIRECTOR OF ARTISTIC OPERATIONS
Greg joined The Australian Ballet in 1980, rising
to Principal Artist in 1980.
During 12 years with the company he performed all
the major classical roles and worked with some of the finest
choreographers of the time. He has been a Guest Principal
with the Mariinsky Ballet and Royal Danish Ballet among
others. In 1994 Greg joined the English National Ballet (ENB)
and in 1998 was appointed Artistic Director of Ballet Central
at London’s Central School of Ballet. In 2001 he joined
Northern Ballet Theatre in Leeds as Ballet Master and in
2003 returned to ENB as Ballet Master and Répétiteur. He
has been a guest teacher at many international companies
and joined Queensland Ballet as Ballet Master in 2013. Greg
has choreographed ballets for Ballet Central, ENB, the Royal
New Zealand Ballet (RNZB) and Queensland Ballet. His
other works for Queensland Ballet include the dazzling Verdi
Variations and Glass Concerto. Greg’s acclaimed production
of Coppélia, was embraced by audiences throughout
Queensland and was also performed by West Australian
Ballet in Perth in 2015. In October of that year, his production
of The Sleeping Beauty, originally choreographed for RNZB,
became Queensland Ballet’s highest-ever selling production
at that time. In 2018, Greg staged and choreographed a world
premiere production of La Bayadère for Queensland Ballet.
Mary LiBALLET MISTRES S & PRINCIPAL RÉPÉTITEURSee page 19
Janette MulliganBALLET MISTRES S & ARTISTIC COORDINATORSee page 20
Matthew Lawrence BALLET MASTERSee page 19
Christian TátchevDIRECTOR OF QUEENSLAND BALLET ACADEMYSee page 20
Nigel Gaynor MUSIC DIRECTOR & PRINCIPAL CONDUCTORSee page 10
05
04
Technical Director Cameron Goerg
Production Stage Manager Shaun O’Rourke
Assistant Stage Manager Heather O’Keeffe
Assistant Stage Manager Ella Gordon
Head Mechanist Dan Villiers
Production Mechanist Damien Richardson
Mechanist Brady Ireland
Head Flyman Don MacKenzie
Head Electrician Scott Chiverton
Production Electrician Josh Skipp
Lighting Board Operator Skye Lilliss
Additional Scenic Art Shaun Caulfield
Head of Wardrobe Noelene Hill
Deputy Head of Wardrobe Lauryn Jackson
Costume Preparation Supervisors Anna Ilic, Erin Krosch
Workroom Coordinator/Costumier Jayne Warrington
Wardrobe Workroom & Zoe GriffithsArt Finishing Coordinator
Costumiers Rebekah Ellis, Vicki Martin,
Frances Pyper, Margie Stafford,
Elizabeth Ball, Michelle Potts,
Jackqueline Parry, Cassiopeia
Fatseas-Lamcombe, Bethany
Cordwell, Emma Shakes, Anna
Handford, Ana Draca, Jade Ashton,
Kylie Landsborough, Benjamin Dutton
Costume Props Marion Hoad
Wig & Makeup Stylist Michael Green
Assistant Wig & Makeup Stylist Bella Townsend, Shannon McKean
Shoe Coordinator Amanda Newman
Performance Wardrobe Manager Erin Krosch
Costume Dressers Zoe Griffiths, Elizabeth Ball,
Bethany Cordwell
Transport Roadpro Event Services/
Russell Austen
Set, props and costumes A Production of the BNS —
Ballet Nacional SODRE — Uruguay
O R
omeo
, Rom
eoW
herefore art thou Rom
eo?
PATRONHis Excellency the Honourable Paul de Jersey ac, Governor of Queensland
BOARD OF DIRECTORS ChairJulieanne AlroeDeputy ChairJustice David ThomasDirectorsDavid CarterPeter GodberPaula McLuskieProf. Gene MoyleAllan Pidgeon amAmanda Talbot
HONORARY LIFE MEMBERSMarlene CollinsPauline CroweLynette Denny amProf. Ashley Goldsworthy aoKevin HodgesPatrick KellyFrançois KlausValerie LisnerMargaret Lucas oamJohn MatthewsDr Neil McCormackAdjunct Prof. Joan Sheldon amNeil Summerson am
EXECUTIVEArtistic DirectorLi Cunxin aoExecutive DirectorDilshani WeerasingheDeputy Executive Director Felicity MandileExecutive AssistantKismet Bourne
ARTISTIC Artistic Associate Liam ScarlettChief Ballet Master & Director of Artistic OperationsGreg HorsmanBallet Mistress & Principal RépétiteurMary LiBallet Mistress & Artistic CoordinatorJanette MulliganBallet Mistress & Creative AssociateRani LutherBallet MasterMatthew Lawrence
ACADEMY Academy Director Christian Tátchev Head of Academy Operations Gabrielle Johnston Head of Academy Business Development & RelationsSarah BoonAcademy Coordinator Kali Harris Academy Teachers Paul Boyd Louise Deleur Lisa EdwardsElena Kozhemyachenko Veronika Sheremetieva Zenia Tátcheva Associate Teachers Wim Broeckx Anthony Lewis Melissa Tattam Amelia Waller Academy Pianists Helen David (maternity leave)Gary DionysiusMark LeungBrett SturdyAssociate Pianists Michelle KimCatherine Yu
ARTISTIC OPERATIONS, EXPERIENCES AND THOMAS DIXON CENTRE PROGRAMMINGHead of Artistic Operations Craig CathcartCompany Coordinator Efrem O’BrienHead of Experiences Jodie TwiteExperiences Coordinator Tess Callanan
BUSINESS SYSTEMSBusiness Systems & Technology ManagerMarcin Kucfir
COMMUNICATIONS & CONTENTDirector of Communications & ContentKendall Battley A/Digital & Content Specialist Faye Sakura Rentoule
DANCERSSee pages 12 – 18
FINANCEDirector of Finance Ian MegomHead of FinanceLynne MastersFinance OfficerTony YanFinance Officer & Assistant Company Secretary Aurelie Pesty
FOUNDATIONFoundation Manager, Grants Jean Attwater Senior Relationships Manager Rachael Walsh Foundation RelationsKristopher BrianFoundation Administration AssistantBridie LiFoundation ServicesCarmel Brown
MARKETING, CORPORATE PARTNERSHIPS & ENTERPRISES Director of Marketing, Corporate Partnerships & Enterprises Zoë Graham A/Marketing SpecialistBrianna McCloskeyA/Marketing CoordinatorJessica PiperA/Ticketing Manager Jennifer Laing Ticketing & Customer Service Specialist Maggie Holmes Head of Corporate Partnerships Danika Bakalich Corporate Partnerships Manager Liz Fisher Corporate Partnerships Executive Sarah Forster
MEDICAL Head of Performance MedicineZara GomesCompany & Academy PhysiotherapistLouise DrysdaleCompany PhysiotherapistMichelle WhiteCompany MasseurPedro AlcobioPilatesCatherine NealNicole VassStrength TrainingTony LewisConsultant Sports PhysicianDr Matthew HislopConsultant General PractitionerDr Ian Mannion
MUSIC Music Director & Principal Conductor Nigel Gaynor Guest Pianist/Assistant Conductor Lucas LynchCompany Pianist Stefanie Gumienik Guest Pianist Roger Cui
PEOPLE Head of Human Resources Candice Sheldon
PRECINCT OPERATIONSDirector Precinct Operations Balveen AjimalHead of PrecinctsLucas GilroyAdministration Officer/WHSWilliam WallaceAdministration OfficersBrianna HanbyEllen GilroyKaren IddonKira HarrisFacilities CoordinatorCampbell MisfeldDuty ManagersSheilagh GaddesJack IddonAdministration/ Business TraineePania Tamati Amber Withall
PRODUCTION Technical DirectorCameron Goerg Head of Production Shaun O’Rourke Technical Manager (Lighting) Scott Chiverton Technical Manager (Staging) Dan Villiers Production Coordinator Heather O’Keeffe Technical Coordinator (Lighting)Skye LillissTechnical Coordinator (Staging)Don Mackenzie
COMMUNITY ENGAGEMENTA/Head of Strategic EngagementGenevieve Dunn Education Manager Martha Godber Engagement & Relations OfficerJoseph Stewart Education & Engagement Coordinator Lily SpencerBusiness Trainee Mahalia Roma Education Teaching Artists Callyn FarrellHolly Frick Lydia MelmethSally RinglandAmelia Waller
WARDROBE Head of Wardrobe & Resident Designer Noelene Hill Deputy Head of Wardrobe Lauryn Jackson Workroom Production Manager/ Principal Cutter Anna Ilic Performance Wardrobe Manager/ Principal Cutter Erin Krosch Academy Costume Coordinator/Cutter Kathryn Lee Wardrobe Workroom & Art Finishing Coordinator Zoe GriffithsCutter/Coordinator/Milliner Vicki MartinCutter/CoordinatorRebekah EllisSenior Costumier/ Workroom AssistantIsabelle LacombeShoe CoordinatorAmanda NewmanWig StylistMichael Green
QUEENSLAND BALLET
Queensland Ballet was founded in 1960 by Charles Lisner obe.
CHAIRChris Freeman am CHIEF EXECUTIVECraig Whitehead MUSIC DIRECTORAlondra de la Parra
CONCERTMASTERWarwick Adeney ASSOCIATECONCERTMASTERAlan Smith VIOLIN 1Shane Chen *Lynn ColeAnn HoltzapffelRebecca SeymourJoan ShihBrenda SullivanStephen TookeClaire TyrellBrynley WhiteRollin ZhaoEmily Francis VIOLIN 2Gail Aitken ~Wayne Brennan ~Katie BettsJane BurroughsFaina DobrenkoSimon DobrenkoDelia KinmontNatalie LowTim MarchmontNicholas ThinHelen TraversMatthew Hesse VIOLAImants Larsens ~Yoko Okayasu >>Charlotte Burbrook de VereNicole GreentreeBernard HoeyKirsten Hulin-BobartJann Keir-HaanteraGraham SimpsonNicholas TomkinMartin Alexander
CELLOMatthew Kinmont =Tim Byrne +Kathryn CloseAndre DuthoitMatthew JonesKaja SkorkaCraig Allister YoungMinJin Sung DOUBLE BASSDušan Walkowicz =Anne BuchananJustin BullockPaul O’BrienKen PoggioliSimon Pauperis
FLUTEAlison Mitchell ~Hayley Radke >>Michal RosiakCassie Slater
PICCOLOStephanie Vici ^ OBOEHuw Jones ~Alexa Murray COR ANGLAISVivienne Brooke * CLARINETIrit Silver ~Brian Catchlove +Kate Travers BASS CLARINETNicholas Harmsen * BASSOONNicole Tait ~Evan Lewis CONTRABASSOONClaire Ramuscak * FRENCH HORNMalcolm Stewart ~Alex Miller >>Vivienne Collier-VickersRyan Humphrey
TRUMPETRichard Madden =Paul Rawson +Chris HudsonDani Rich TROMBONEJason Redman ~Christopher Thomson BASS TROMBONEMatthew McGeachin ^ TUBAThomas Allely * TIMPANITim CorkeronAndrew Knox * PERCUSSIONJosh DeMarchi =Jacob EnokaFraser MatthewAngus Wilson
HARPLucy Reeves ^
SAXOPHONEPierce Hurne ^
~ Section Principal= Acting Section
Principal>> Associate Principal+ Acting Associate
Principal* Principal ^ Acting Principal
QUEENSLAND SYMPHONY ORCHESTRAPRODUCTION CREDITS
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We gratefully acknowledge the generous support of the
following patrons, Government and Corporate Partners
towards our capital development projects:
Thomas Dixon Centre, Queensland Ballet Academy
and Queensland Ballet Production Centre.
PO Box 3567, South Bank, Queensland 4101
t (07) 3840 7444 w qpac.com.au
CHAIR
Professor Peter Coaldrake ao
DEPUTY CHAIR
Leigh Tabrett psm
TRUST MEMBERS
Dare Power, Susan Rix am, Leanne de Souza
CHIEF EXECUTIVE
John Kotzas
ACKNOWLEDGMENT
The Queensland Performing Arts Trust is a statutory
body of the State of Queensland and is partially
funded by the Queensland Government.
The Honourable Leeanne Enoch MP, Minister for
Environment and the Great Barrier Reef, Minister for
Science and Minister for the Arts Director-General,
Department of Environment and Science: Jamie Merrick.
QPAC respectfully acknowledges the Traditional
Owners of the Lands across Queensland and pays
respect to their ancestors who came before them
and to Elders past, present and emerging.
Patrons are advised that the Performing Arts Centre
has EMERGENCY EVACUATION PROCEDURES, a FIRE
ALARM system and EXIT passageways. In case of an
alert, patrons should remain calm, look for the closest
EXIT sign in GREEN, listen to and comply with directions
given by the inhouse trained attendants and move in an
orderly fashion to the open spaces outside the Centre.
Introducing Bella Ballerina!
Our magical custom ballet dancer is soft to touch, and loves to twirl and leap. With dazzling golden ballet shoes Bella Ballerina is ready to take to the stage!
A Queensland Ballet and Lauren Hinkley Australia collaboration.
Discover the full QB Collection at the QPAC
merchandise stand in the Lyric Theatre foyer.
QUEENSLAND PERFORMING ARTS CENTRE QUEENSLAND BALLET CAPITAL DEVELOPMENT SUPPORTERS
The Ian Potter Foundation, Anonymous, Roy & Nola Thompson,
The Frazer Family Foundation, Tim & Gina Fairfax,
Mr Trevor St Baker ao & Mrs Judith St. Baker,
Bruce and Jill Mathieson, Lynn Harvey,
Liz & Graeme Wikman, Ian & Cass George,
Steve & Jane Wilson, David & Loraine McLaren,
Mrs Barbara Bedwell, Brett & Maria Clark, Anne Symons,
Clive & Conchita Armitage, Stack Family Foundation,
Goldburg Family Foundation
MAJOR PARTNERS
SUPPORT PARTNERS
GOVERNMENT PARTNERS
08
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OUR PARTNERS
Queensland Ballet is proudly supported by:
GOVERNMENT PRINCIPAL PARTNER
MAJOR PARTNERS
Queensland Ballet receives financial assistance from
the Queensland Government through Arts Queensland
Queensland Ballet welcomes you to contact us if you would like to be involved.
Please phone 07 3013 6666 or email [email protected]
Queensland Ballet is assisted by the Commonwealth Government
through the Australia Council for the Arts, its arts funding advisory body
SUPPORT PARTNERS
SEASON PARTNERS
Angus Knight Group, Bank of Queensland, Deloitte,
Dr. Lily Vrtik, George Group, Grant Thornton,
King & Wood Mallesons, Oceania Cruises and
Regent Seven Seas Cruises, Valley Plastic Surgery
Darling & Co
The Regatta Hotel, Urbane
OFFICIAL POINTE CORPORATE RESTAURANT PARTNERS SHOE PARTNER CLUB & OFFICIAL SUPPLIERS
Queensland Ballet is a member of
Live Performance Australia and the
Australian Major Performing Arts Group,
and supports the Actors and
Entertainers Benevolent Fund (Qld).
VisionariesThe Ian Potter FoundationOak FoundationAnonymous (1)Kay Van Norton Poche ao
Artistic Director’s CircleAnonymous (2)Veronika ButtaBarbara DuhigIan & Cass GeorgeLynn HarveyThe McLaren FamilyMr Simon Mordant am & Mrs Catriona MordantPatricia Macdonald Memorial FoundationMiss Valmai Pidgeon amAmanda TalbotRoy & Nola Thompson
Principal BenefactorsThe Frazer Family FoundationVirginia McGehee Friend
Queensland AdvocatesPhilip Bacon amJohn BorghettiMichael CameronSimon DyerScott HartleyTony NunanCathie ReidJudith St Baker & Trevor St Baker aoGraham & Jude TurnerSteve Wilson
BenefactorsAnonymous (1)Mary & John BarlowBarbara BedwellRobin Campbell Family FoundationJack & Sharon CowinLi Cunxin ao and Mary LiGoldburg Family FoundationMs Di JamesonThe John Villiers TrustKhitercs Hirai FoundationDr Valmae Ypinazar & Prof. Stephen Margolis oamHelen & Dan McVayC P MorrisMrs Beverley J. SmithAnne SymonsDr Phillip Vecchio & Marissa Vecchio amElizabeth & Graeme WikmanStack Family FoundationHayden Attractions Pty LtdBen Duke & Cate Heyworth-Smith
Music Director’s CircleMr Robert Albert ao & Mrs Libby AlbertJohn & Lynnly ChalkDr Cathryn Mittelheuser amMorgans FoundationFA & MA PidgeonMrs Denise Wadley oam Principal Dancers’ CircleAnonymous (1)Mrs Mary C. BarlowBrett & Maria Clark
Andrea & David GrahamMather FoundationJohn & Georgina Story Soloists’ CircleLewis BellDiana BertalliDarren & Carmel BrownCarole ByronMrs Jane Douglass amAnnmarie FaulknerAngie’s FundMartin GordonRoy HoskinsGay HullLori LowtherPamela MarxKeith McCamleyDenise O’BoyleMarion PenderRoss & Jennifer PerrettSiganto FoundationPaula McLuskie & Nathan SticklenTony Sukkar am & Josephine Sukkar amThe Hon. Justice David Thomas & Mrs Jane ThomasIn loving memory of Walter Fernance
Dancers’ CircleADFAS Brisbane Anonymous (1)Dr Pitre & Mrs Monique AndersonRussell BarnettJanelle BerleseBetzien Duffield FamilyVirginia BishopDavid & Anita CarterSharyn Crawford & Olive Oswald Dr Frank & Dr Ailbhe CunninghamRon & Margot FinneyKylie Ganko Allan Green John & Lois GriffinLouise HamshereMaria HevesDr Shane & Mrs Ciara Higgins Dr Joan M Lawrence amElizabeth LukeijLynne Masters
Jennifer MorrisonMr Kristopher MuddThe Weerasinghe-Neaum FamilyDr Andreas Obermair & Dr Monika JandaNettie Stephenson & James McGrathKim ParascosAmanda PedenMary Peden oamMichael RoddyRhyl RowKristy-Lee SeatonSusan Shadforth & Bruce LawfordMrs Lynn Rainbow-Reid amBruce & Sue ShepherdRobyn & Todd Wanless
Charles Lisner CircleRealised Bequests –Kaye Brain Dancer Education FundIsabell Honor Hall MaynardLesley Merle WilliamsNotified Bequests –Anonymous (1)Dr Sheena BurnellLucien Castand & Donald Robson Dr Valmae Ypinazar & Prof. Stephen Margolis oamDr James McGownKathleen NowikMrs Lynn Rainbow-Reid amJane Steinberg
SupportersAnonymous (50),Penny AcklandRobyn AdamsDr David AdamecAnthony Allan & Dr Alex MarkwellJulieanne AlroeAnastasia AndersenTrisha Anderson P J AnderssenBrian & Pam AndrewJanine ArnoldLorelei BacheFlora BarwickAshlee & Darcy BasfordNicole BeasleyJohn & Janice Bell Penelope Fraser-BensonSarah BeresfordImogen & Lucy BerridgeKathryn Biggs Elin BirksChristopher & Margot BlueLucinda CooperMrs Coral HulcombeKathy BrimsDame Quentin Bryce adDr Sheena Burnell
Marie ByrneElene CaridesElizabeth CarriganAnn CastonGreg & Jacinta ChalmersPeter & Gabrielle ChisholmFiona ClarkBob ClelandZoë ConnollyRexine CooneyAngela Cornford-ScottLee CornwallBarry CowdellLaurie CowledCarolyn CraigMs Lynette CraigDr Gay CrebertPeter & Althea CrowleyDr C Davison Jen DavyMarina De JagerLaurie James DeaneMrs Teresa DurieCheryll HookerPamela Douglas & Barbara HodsonRosemary DouglasMary DugganTom & Cathy DunnMrs Teresa DurieHazel EiversTristan EnglartPaul EvansWilliam Forgan-SmithYvette ForresterBeverlee GarnettProf. Mary GarsonJan & Graeme GeorgeDr Troy & Mrs Karelia GianduzzoJim & Michelle GibsonJacque GilesMandy GoodyearSue & Mike GowanDr Anita GreenDaron GreenDeborah GreenKaren GreenPamela GribbenDanielle GuineaMichael & Annette GunnIsabel & Jessica GunningYiran (Merry) HaSandra HaggartyJoan HallMrs Sally HallMiss Ruth Hamlyn-HarrisJane HammondLouise HamshereMs Jenny HannahIona HansenDavid HardidgeDr Alana HarrisCarmel HarrisK & S HeathcoteJean HeimgartnerMargaret HenryLoma HenrySarah HickmanB J HirschfeldJane Hirschfeld
Mervyn HollandMarilyn HoweKen HoyleRuth HubbardLesley Hunt Iona IredaleJulie IrwinPatricia JacksonShirley JacksonRosie KingNicole KleinColin & Noela KratzingRoss KriegAndrea KriewaldtRoss & Sophia LamontMargaret LansdownJohn & Angela LeakDr Katrina LinesJane Lee LingAndrew & Kate ListerB LloydDr Lesley LlukaElizabeth LoaneChriss MacaranasElizabeth MacintoshSally MacqueenNorman & Cathy MaherNick & Georgia MartinJennifer MartinBuff MaycockGraham McKayMatthew & Ainsley McLarenShirley McMahonLeanne McMillanJustice Philip & Margaret McMurdoAnthony MellickDoug MerrittGino MilaniDan & Kate MilesDesmond B Misso EsqMr Adrian MontgomeryChristine MooreDr Tom MooreMichael & Jacquelin MorrowDeanna MurphyHugh NalderElizabeth NewtonAnita NimmoCarmel NolanPauline & Bill NorthKathleen NowikBarbara O’ConnorBernie O’DowdGreg & Wendy O’MearaDonna O’SullivanLeah PerryCaroline PoonForbes PrattBodycentric AdelaideJann Punch C RalphLynne & Chris RaymontMargaret RegnaultBronwyn RiskMrs Barbara RobinsThe Robinson FamilyAnn RobsonLucien Castand &
Donald RobsonRosemary RodgerLeona RomaniukJudy RussellKathryn RussellJulieanne SadlerBronwyn SaundersJoanne ScottMargaret ScottJake ShavikinLisa SheldonMichael & Angela SheridanIsabella ShueRobynne SiemonDr Nerida SmithKaren PomeroyJ SneydLeonard SparkesElizabeth StaffordTony & Josephine SukkarIrene SymonsRhondda TaffsPenelope ThomsonRhondda ToddPatricia TylerMalcolm TyrrellSusan UrquhartLoryn Van Den BergBeryl & Michael WardFrances WareMs Maryanne WebbColleen WilsonSusan WilsonHelen WitheyJudith WittletonSean WoellnerWendy WoellnerJessie YeowartDonna Young In loving memory of Mardi Bartlett. Queensland Ballet is supported by Queensland Ballet Friends. Our thanks go to everyone who has shown their support by donating to Queensland Ballet. Every gift, large or small, helps us to achieve our vision. If you would like to know more about our philanthropic program, please contact us on 07 3013 6666 or email [email protected]
Acknowledgments correct as at August 2019.
OUR SUPPORTERS
Queensland Ballet is very grateful to the many generous
individuals, trusts and foundations, for their support.
Queensland Ballet acknowledges the
traditional custodians of the land on which
we work and perform. Long before
we performed on this land, it played host
to the dance expression of our First
Peoples. We pay our respects to their Elders
— past, present and emerging — and
acknowledge the valuable contribution
they have made and continue to make to
the cultural landscape of this country.
34 Beesley Street, West End QLD 4101
PO Box 3791, South Brisbane QLD 4101
07 3013 6666