PRINCIPAL PARTNER

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sPATRONS, WEST AUSTRALIAN BALLET

HIS EXCELLENCY MALCOLM McCUSKER AC CVO QCAND MRS TONYA McCUSKER

PATRON, PRIVATE GIVING

MRS ALEXANDRA BURT

AUTUMN 2014SPOTLIGHT

IN THE FAST LANE WITH MATTHEW LEHMANN

PIROUETTING THROUGH PARISANDRE SANTOS MAKES HIS EUROPEAN DEBUT

THE ‘ART’ OF GIVINGHOW AUSTRALIA RATES IN THE GIVING STAKES

GREAT LEAPS FORWARDA UNIQUE NEW PROGRAMME FOR YOUNG DANCERS

Young Artist scholarship recipients, Phebe Sleeman, Emily Luxton, Andrew Radak, Liam Green and Genevieve O’Keeffe with Kennerlys CEO, Lejo Ouwendyk, benefactor, Patricia Gates, John Palermo, Trustee The Simon Lee Foundation and Wesfarmers Arts, Manager, Helen Carroll.

Young Artist scholarship recipient Andrew Radak with Eleanor Bendat and Laura Machlin, Trustees, The Jack Bendat Family Foundation.

Alexandra Stewart

Taul Pinker, Sarah-Jane Emslie and Alexandra Cook Rebecca Sneddon

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WELCOME WAB WELCOMES TO THE COMPANY: from La Scala Theatre, Italian, Leonardo Laurent Mancuso, and Melbourne-born Alexandra Stewart, who joins us from The Bayerisches Staatsballet in Munich.WAAPA graduates Liam Green, Emily Luxton and Genevieve O’Keeffe, The Australian Ballet School graduate Phebe Sleeman, and National Theatre Ballet School graduate Andrew Radak have been awarded 2014 Young Artist Programme scholarships.

FROM THE GREENROOM

Dear friends and supporters,

I have recently read an article about the im-portance to keep (or not) the ‘heritage’ classi-cal ballets in repertoire. A few artistic direc-tors around the world have expressed their opinions and some points of view are quite surprising.

Some of my colleagues believe that every ballet company in the world should rest ballets such as Swan Lake, The Nutcracker or

The Sleeping Beauty for a period of at least three years. They say: ‘it would be great for every company around the globe to only stage triple bills for three years, in order to educate audiences and bring them on a journey’.

My personal opinion is that everything in life needs the right balance; even our own body needs to have all its elements well balanced. To present full-length story ballets only, or triple bills only, isn’t the right choice – neither for our public or our dancers.

Together with my wife, Sandy Delasalle, we have just staged for WAB a new version of our most beloved ballet – Giselle. This ballet is

probably the ballet we have performed together the most often, and on many different international stages. No matter where we were (Turkey, France, China or in the USA) the public reacted in the same way. Everywhere in the world people come to watch the big classics with enthusiasm and leave the theatre with a smile on their face.

To me it is essential to keep the big classics alive. There are of course many different ways of doing this and to sometimes refresh them isn’t such a bad thing... especially when it’s smartly done, such as our upcoming version of La Fille mal gardee in September.

If some ballets are still performed, even after more than 150 years, it probably means there is something inherent in these works that we shouldn’t ignore. Perhaps it is that they make people happy and enable them to escape our world-weary lives for a few hours – and we all need to take an escape sometimes.

So please continue to support WAB; because we will keep on perform-ing full-length story ballets… as well as providing all the other courses on the menu, for you to enjoy!

Aurélien

In this edition I would like to pay tribute to Friends of West Australian Ballet. Friends was established in 1999 by Rodney Thompson and a group of committed individuals, who wanted to support the company through fundraising ac-tivities and advocacy. Rodney has been Chair of the Friends Council for all those 15 years, which in itself is a considerable feat.

Over these past 15 years, Friends have often provided the ‘icing on the cake’ for many of the

company’s programmes: assisting with funding sets and costumes for new ballets, providing specialist equipment and even endowing a Friends studio in the new ballet centre. In the old ballet centre (at His Majesty’s Theatre) Friends even provided the company with a new kitchen and kitted it out with fridge and dishwasher and other ‘mod cons’. This lifted the spirits of the company immensely at the time... especially the dishwasher!

Since 2008 the Friends Campione appeal has enormously assisted WAB to build and produce many outstanding new ballets, including The Nutcracker (2008), Don Quixote (2010), Cinderella (2011), Pinocchio (2012) and La Sylphide (2013).

At the recent Friends AGM a decision was made to ‘wind up’ the or-ganisation in order to integrate it within WAB’s own philanthropy and membership programmes. This will enable a much higher level of coordination of activities, allow for more strongly integrated branding and communications, and reduce confusion about the role Friends, compared to that of WAB’s other programmes.

On behalf of the Board and all the company, I would like to thank Rodney and his Friends Council – Heather Bannerman, Kelly Cochrane, Andrew McGuiness, Julie Norton, Clair Stanley, Wendy Stewart, Diana de Vos-Beck, and Karina Waters – for the enormous contribution you have made to West Australian Ballet. Your enthusiastic support and encouragement has meant a lot!

Steven

STEVEN ROTH Chief Executive

AURELIEN SCANNELLA Artistic Director ALEXANDRA BURT Patron, Private giving

FOND FAREWELLS Communications and Sponsorship Manager, Debra Reinecke concluded seven years with WAB in January to move to Wesley College and a new role as Community Relations Manager, Sponsorship Coordinator, Michelle Berg recently moved on to a new role at the Perth Fashion Festival, and Principal Dancer, Jiri Jelinek, has returned to Europe to take a position with Eifman Ballet. We wish them all well.

Leonardo Laurent Mancuso

MESMERISING.

That’s the word that has kept coming back to me as I reflect on the wonderful Ballet at the Quarry season this year. The programme had so much to feast on but for me the mes-merising piece was Radio and Juliet and in particular the ensemble work by the male dancers. I was fortunate enough to see the Quarry performance a few times and on each occasion these six men had me completely transfixed.

As I got caught up in the incredible focus and precision of their dancing, two thoughts came to mind: 1) how rare it is to see a piece where men take the lead as an ensemble in this way; and 2) how lucky we are that WAB has the calibre of male dancers in its company to pull it off. In this piece, each of the dancers has to find an identity within their own role and yet simultaneously work as one to convey

the impersonal, generic male in Juliet’s al-ternate reality. Their interpretation has to be both individually distinctive and collective-ly regimented. This requires so much more than just the ability to do the steps. And our dancers did it beautifully.

Seeing Radio and Juliet also brought to mind the importance to dancers of diversity. It is natural for high achievers to want to grow. To do this they need to be constantly given fresh opportunities and they need to be chal-lenged.

Imagine a young male dancer in his first production of Romeo and Juliet, a tradition-al version and playing the part of ‘Romeo’. He will spend a lot of time with the artistic director and ballet masters and mistresses talking through the character and what he might be feeling at key moments in the story. The young dancer gives this first production everything he has, bringing all his young life experience and everything he has learned in rehearsals to the role, and in each perfor-mance he grows a little bit more.

Next, imagine that a couple of years later the same dancer has the opportunity to dance in Radio and Juliet, inspired by the original but completely different in terms of style, struc-ture, and choreography and set unexpected-ly to the music of modern band Radiohead. As before, the dancer and the artistic team explore the themes and nuances of character, and like before, he will be bringing all his past experiences to bear on this character. And each performance he will grow a little bit more.

Finally, imagine our dancer returning to the title role in Romeo and Juliet, back with Prokofiev’s powerful music and all the hall-marks of Shakespeare’s linear narrative. If we

could time travel and compare his very first performance with the one he gives now, I’m guessing we would see a marked difference. Much of that would be due to our dancer being a little older with more of that life ex-perience, but I also believe the challenges put before him when taking on Radio and Juliet would allow him to give audiences a richer and more moving performance as our tragic hero, Romeo.

All of that is a rather long-winded way of saying that giving dancers the chance to do different things is a vital part of their growth and prosperity as dancers. The audience is re-warded on so many levels and the company gets stronger along the way.

There are many ballet fans who really prefer the traditional story ballets. For what it’s worth, I think this is not only perfectly valid but also vitally important for the sustainabili-ty and future of ballet companies throughout the world. Ballet’s longevity is secured by the popularity of the enduring ballets that we all know and love.

So for those of us who love ballet in all its other forms as well, it is nice to think that there is a harmony among all the different styles of dance; that the styles all feed one another and bring constant renewal, even to the classics. I love that quality about West Australian Ballet. It is one of its greatest strengths. How lucky we are to have this world class approach right here in WA.

Alexandra

We also welcome from London, Sarah-Jane Emslie, Communications and Sponsorship Director, Alexandra Cook, Executive Assistant and Philanthropy Coordinator, Rebecca Sneddon, Education Officer, Customer Services Officer Taui Pinker. Cassandra Williamson has moved into the role of Marketing Executive and Leanne Beer to Sponsorship and Events Coordinator.

Matt as Onegin in 2013. Photo by Sergey Pevnev

Matt as Hook in 2013. Photo by Sergey Pevnev

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IT IS NOT UNCOMMON THAT A LITTLE GIRL BECOMES CAPTIVATED BY THE GRACE AND GLITTER THAT A FIRST DANCE CLASS REVEALS. IT IS RARE HOWEVER THAT THIS LUXURY GROWS TO BE THE BEGINNING OF AN ADULT’S CAREER; PERHAPS THE FIRST PROMISE OF ARTISTRY IN A UNIQUE AND BEAUTIFUL DANCER.

For Young Artist Emily Luxton, it was an early infatu-ation with dance – in the lounge room with her little sister and then in a Rockingham school hall – which led to further training.

At age 11 she began formal ballet coaching under the direction of Terri Charlesworth, which led to an oppor-tunity to train in Monte Carlo in 2009. Upon returning home to Perth, where she first experienced the ‘grace

Young Artist

EMILY LUXTON IS SETTING HER SIGHTS HIGH.

Since joining WAB Matt has captivated Perth’s audiences as Petruchio in The Taming of the Shrew, James in La Sylphide, the title role in Onegin, which lead to his promotion to Principal Dancer, his memorable performances as Captain Hook in Peter Pan (my three year old daughter still talks about him!) and recently as Tybalt in Edward Clug’s Radio and Juliet. A combination of

strong ballet technique, artistic maturity and a commanding stage presence makes him a valu-able asset for West Australian Ballet. When Matt

is performing on stage he gives it his all. His Tybalt in Radio and Juliet had such power and intensity you could almost feel the resounding shiver from the audience.

I was fortunate to be partnered with Matt in both The Taming of the Shrew and Onegin. His impec-cable partnering skills, professional approach and the emotional depth he brought to these roles made my work much easier. It is important to

have trust in your partner; not to be ever won-dering if a lift or catch will work or if you are going to have to struggle to be on your leg. Most importantly, Matt’s acting skills made it easier for me to channel into my own character. Being promoted to Principal Dancer during the curtain calls of closing night, made Onegin especially memorable for Matt.

Away from the stage Matt likes to relax by spending time at the beach, riding his Harley, meeting the locals at the pub, or tinkering on his car. But for Matt, performing on the stage is what he is most passionate about – working on roles where he can give a little of himself, where he can feel that adrenaline rush and think to himself ‘yeah okay, this is why I do this! The perks of being a dancer definitely outweigh the negatives. That is why I do it, to live the dream. We have to love it!’

By Principal Dancer, Fiona Evans

IN T

HE S

POTL

IGHT

IN THE PRESENCE OF MATT LEHMANN ONE IS SURE TO BE DRAWN IN BY A WARM FRIEND-LY SMILE AND A LAID BACK, EASYGOING MANNER. CALM AND GOOD NATURED AS WELL AS, I MUST ADMIT, A BIT OF A CHARMER WITH THE LADIES, THERE IS NONE OF THE AR-ROGANCE THAT YOU CAN SOMETIMES FIND IN SOMEONE OF HIS TALENT AND CALIBRE. IT IS JUST IMPOSSIBLE TO NOT LIKE MATT LEHMANN.

Raised in Frankston, Melbourne, Matt began dancing at the age of eight. He was intro-duced to dance at an early age as both parents were professional ballroom dancers. As he grew older he had to make a choice between competitive swimming and ballet. Matt chose ballet. At the age of seventeen he was accept-ed into The Australian Ballet School and upon graduating he embarked on an audition tour

that started in Zurich and included a number of European cities, then on to Canada, audi-tioning in Winnipeg and Calgary. After sixteen auditions and sixteen flights (in just six weeks) Matt was rewarded with a contract to dance with the Alberta Ballet.

Before starting in Alberta, Matt made a guest appearance with West Australian Ballet in Simon Dow’s Dangerous Liaisons. Impressed with his dancing qualities, Dow offered Matt a contract. However Matt decided not to give up the opportunity offered by Alberta Ballet and the experience of living overseas.

For the next five years at Alberta Ballet, Matt was given many opportunities to dance soloand principal roles; he especially learnt a lot about the art of partnering as he was often given difficult partnering roles. However, after a few years he began to feel ‘pigeonholed as the big strong guy who could do all the lifting’ and also began to tire of the company’s

particular repertoire. It was time for a change for Matt, as dance careers are short and he felt the need to again be challenged. That op-portunity came with West Australian Ballet’s 2010 Gala.

By Young Artist, Genevieve O’Keeffe

YOUR GIFT TOWARDS REPERTOIRE GIVES DANCERS LIKE MATT THE OPPORTUNITY TO PERFORM MAJOR LEADING ROLES IN SUPERB NEW PRODUCTIONS LIKE ‘LA FILLE MAL GARDEE’ AND ‘LA SYLPHIDE’. WE ESPECIALLY THANK OUR CAMPIONE FOR YOUR GENEROUS SUPPORT IN BRINGING THESE WONDERFUL PRODUCTIONS TO LIFE.

and glitter’, to complete further training at the West Australian Academy of Performing Arts (graduating in 2012), Emily was finally able to embark on her profes-sional career in dance, gaining a Young Artist position with West Australian Ballet.

Working with WAB is proving to be an invaluable and treasured experience for Emily: ‘I am learning so much from working alongside such amazing artists and direc-tors. It’s so special and I’m taking it all in.’

Although working as a professional dancer can be de-manding, Emily exhibits every aspect of a young woman simply enjoying what she does. When the working week is done you might see her chatting in a coffee shop, exploring Perth by bike, or indulging in a ‘good read’!

Grateful that she can refer to her passion as work, Emily has her sights set on exploring her ambition as a ballet dancer, eager to venture into the world and uncover

hidden opportunities. As for every young dancer, the future will always be a challenging yet promising ques-tion mark. Emily has numerous trails of interest weaving through the arts industry, both within and beyond dance, and she is excited to explore her broader career as an artist.

Always eager to learn and share her enthusiasm for the art form of ballet, Emily is a true advocate for dance lovers: knowledgeable and interested in what she does, and desires to do, every day. In the studio she is rarely seen without a smile; a cheerful presence that doesn’t falter in seeking the positive from every opportunity.

Inspired and nurtured by this time as a Young Artist, the future holds great things for Emily.

EMILY, AND OTHER GIFTED YOUNG DANCERS, HAVE THE OPPORTUNITY TO LIVE THEIR DREAM AND GAIN A ‘STEP UP’ TO A PROFESSIONAL CAREER THROUGH THE GENEROSITY OF PRIVATE FOUNDATIONS AND PATRONS SUCH AS KENNERLYS AND PATRICIA GATES, WHO PROUDLY SUPPORT EMILY’S POSITION.

Principal Dancer MATTHEW LEHMANN IS RIDING HIGH ON TWIN PASSIONS: HIS HARLEY DAVIDSON AND TOWERING LEADING ROLES.

Matthew Lehmann & Florence Leroux-Coleno. Photo by Sergey Pevnev

Don and Marie Forrest

Tim Bult and Mary Ann WrightPrincipal Dancer Matthew Lehmann with Ballet Mistress Sandy Delasalle

Dominic Ward and Jack Bendat

His Excellency Malcolm McCusker AC CVO QC and Mrs Tonya McCusker, with WAB Chairman John Langoulant, Steven Roth and Aurelien Scannella

Patricia Gates & Rod Gonzales with Principal Dancer Brooke Widdison-Jacobs and husband Jesse Jacobs

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In the last edition of Ballet News we published a story by Guardian dance reviewer, Judith Mackrell, on the long cherished tradition of flower-giv-ing in ballet. The article recounted how adoring fans play a generous role in flower-giving (or for some, rather sumptuous gifts!) at the Royal Ballet – the beauty of ballerinas holding armfuls of lilies, roses or tulips on opening or closing nights, and the tradition of the ‘flower throw’; cascades of carnations, daffodils and roses (depending on the season) forming a carpet at the ballerina – or ballerino’s! – feet.

Judith also mentioned the Royal Ballet’s particular rule about flower-giv-ing: no dancer can receive a bouquet on stage if the lead ballerina hasn’t been sent any. In the Royal’s case, this rarely happens, because a kindly patron endowed a ‘flower fund’ to the company, which covers emergen-cy bouquets – for key dancers without flowers, or whenever there is an embarrassingly uneven distribution among soloists.

I am very pleased to say that this article has struck a chord with WAB patrons: during our Christmas season of Peter Pan, flowers began ap-

pearing for key dancers, and what a delight and surprise it was for them to receive these gifts. It certainly made their performances more mem-orable and reminded them how their art is able to touch people in so many different ways, and that this appreciation is returned with flowers.

Of course, giving flowers is not the only way to show appreciation for a performance well received: hearty applause and the occasional standing ovation is also deeply appreciated. But receiving a flower is certainly something precious. So thanks to all who have entered into this long-held tradition…may it long continue!

Steven Roth

Postscript – unless you prefer to remain anonymous, please include a little note identifying yourself so that our dancers can thank you. Or if you are inter-ested in endowing a special flower-fund, we would be especially delighted to hear from you.

PHILANTHROPY IS A TRICKY WORD – IT IS HARD TO SAY AND MANY DON’T UNDERSTAND WHAT IT MEANS!

The official definition is ‘the desire to promote the welfare of others, expressed especially by the generous donation of money to good causes’.

In the case of West Australian Ballet, philan-thropy refers to the private donations made to our State’s ballet company, and in many cases, gifts will be given for different reasons. Some donors feel particularly connected to a dancer. Others like to support new ballet productions, or may feel that the educa-tion of young dancers is particularly import-ant. Some of our donors like to buy shoes for our dancers to wear for performances. Every edition of Ballet News is full of examples of the good work that West Australian Ballet is doing to bring fantastic performances to our stage and life-enhancing experiences to our community on a daily basis; work that is worthy of support.

I have had many conversations with members of the West Australian Ballet community since I joined the company last year, and thought it would be interesting to give a few facts and figures on ‘philanthropy’ in Australia.

Firstly, how does Australian philanthropy compare to other countries? Most data that is

compiled compares our results to the United States, and the results are somewhat disap-pointing, although not surprising to many. The proportion of taxpayers donating (in relation to their level of income) is substantially higher in the US. People that earn more than $100,000 in the US are 30% more likely to donate to a cause than people in Australia. Of course many will point to the increased Govern-ment funding in Australia and it is true, Aus-tralian not-for-profit organisations do receive more support on average than our American counterparts. However, Government funding is significantly decreasing as companies are increasingly urged by funding agencies – and some would say quite rightly – to broaden their income base.

In the US, private giving accounts for any-where from 40% to 60% of annual revenue of performing arts companies. Challenge (or matching) gifts are common where individuals or companies offer to match the gifts made by other donors, which effectively doubles the value of each gift. Other differences include a very structured approach to fundraising: high-end gala events, no free opening nights and active Board involvement in philanthropy.

Many people ask why there is such a differ-ence in the philanthropic culture between Australia and the US, and there are multiple reasons – the primary two being the different tax structures, and the long and established history of structured giving in the US.

So how does West Australian Ballet compare with other arts organisations? WAB has a very strong corporate sponsorship programme, however our private philanthropy programme has not yet reached the potential that one would expect from a premiere ballet company. For example, in the latest data from AMPAG (Australian Major Performing Arts Group), private giving makes up almost 50% of spon-sorship and donation income, whereby this is quite different from WAB where private giving accounts for closer to 25% of this income stream.

WAB shares the same challenge as other per-forming arts companies each and every year: how to close the gap between the costs of bringing our art-form to the stage, and the box office revenues of those same performances. That gap forms approximately 30% of our annual revenue each year.

Over the next issues of Ballet News I will be profiling the different areas of the ballet and how your gifts help to bring our performanc-es to the stage, plus some behind-the-scenes insights.

If you have any questions please don’t hesitate to contact me at chenwood@waballet.com.au and as always, 'thank you for your support!'

THE “CULTURE” OF GIVING

HOW BALLET FELL FOR FLOWER-GIVING…revisited

Patron of our Ballet Circle, Alexandra Burt with Husband Julian Burt, generous supporter Patricia Gates and friend

AN ELEGANT OCCASION AT GOVERNMENT HOUSEMembers of West Australian Ballet Director’s Circle and Choreographer’s Circle recently had the wonderful opportu-nity to gather at Government House for a special reception hosted by WAB Patrons’ Malcolm McCusker AC CVO QC and Mrs McCusker.

The event provided an opportunity for the McCuskers’ to recognise the important part that our donors play in the life of WAB. Likewise, it was WAB’s opportunity to heartily thank the Governor and Mrs McCusker for their three years as joint Patrons of West Australian Ballet. Guests at the event were able to mix and mingle with Principal Dancers of the company, and to take a guided tour through the private and public rooms of Government House.

If you would like to join the Director’s Circle, or to learn more about this new initiative, please contact Philanthropy Manager, Catherine Henwood on chenwood@waballet.com.au

By Philanthropy Manager Catherine Henwood

PATRON PROFILE Jamelia GubgubBy Philanthropy Coordinator, Alexandra Cook

Although I work in the arts, it’s not always that I get the

opportunity to meet an individual who has such a keen desire and understanding for the arts to be kept alive.

Jamelia Gubgub, the Perth-born daughter of a Scottish mother and a Christian-Lebanese father has long been connected with the arts in WA. Jamelia’s relationship with dance began early: with the encouragement of her father and mother, she took up dance classes, training under Linley Wilson, a well known early ballet pioneer in this State who founded WA’s Ballet Caravan – a medium sized company that toured regionally across the State before WAB was formed.

Being a very organised woman, Jamelia was often known as the ‘wise dancer’ amongst her peers and was always working hard. After finishing dancing at the age of 28, she took up a role as a community

arts officer and publicity and promotions assistant with the Perth Theatre Trust: ‘I was sleeping at the theatre yet again!’ she remarks, although this time for different reasons. She then took time off to raise her two children. Now she is engaged in various business endeavours with her husband David Wallace.

In addition to her interest in the arts, Jamelia enjoys drawing, pilates, yoga and various crafts and acts as a rehearsal mistress and teacher at the John & Bernadette Taylor Ballet School.

Jamelia and David have been avid supporters of West Australian Ballet for many years. They believe that personal support of the arts is imperative to its survival: ‘Arts are important in any culture... my father instilled in me that you should not rely on government, you have to do it yourself’ says Jamelia. The couple also support the Festival of Perth, Musica Viva, and various other charitable and even, non-charitable organisations.

Jamelia’s passion for the arts is clear: ‘if there was a war tomorrow, all we’ll have is our sense of humour and the arts!’

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With the assistance of our friends at Bankwest, WAB launched ‘Great Leaps’ in 2013: a unique membership programme for dance students throughout WA. At last count there were approximately 50,000 young people participating in dance classes in WA, and that’s a lot of future stars! Many young dancers dream of a life on the stage, but through various circumstances, are unable to enjoy the experience of a live ballet performance.

Our new Great Leaps programme aims to ensure that no young dancer misses out on the opportunity to be enthralled and inspired by our art form. The programme offers $10 tickets to WAB’s main-stage performances, invitations to special Members’ events, regular updates about the company, and offers such as discounts on merchandise and other ballet activities.

The first Great Leaps event involved a day of workshops at the WABC in December 2013. Dancers Meg Parry and Sergey Pevnev led Peter Pan-themed sessions for over 120 aspiring young dancers aged 5 – 15 years. Parents watched on transfixed as their sons and daughters transformed themselves into Captain Hook, Peter and Tinkerbell!

The Great Leaps programme now makes it possible for all families to share the magic of ballet with their chil-dren, and for ‘young hopefuls’ to enrich their knowledge, skills and appreciation of ballet – this programme is truly a ‘great leap’ forward.

By Education and Access Manager Deborah Robertson

IN SEPTEMBER 2012, AND WHILE WAB WAS STILL UNDER THE DIREC-TION OF IVAN CAVALLARI, THE ROLE OF ‘PINOCCHIO’ WAS CREATED ON ME; A ROLE THAT WAS PART OF A VERY DEMANDING TWO ACT BALLET ABOUT THE LITTLE WOODEN BOY EVERYBODY KNOWS AND LOVES.

Since then a lot has changed. In particular, Ivan has moved to France to take up the position of Artistic Director of Ballet de l’Opera du Rhin in Alsace.

Last year as I sat in my dressing room getting ready for a show of Peter Pan, I was advised of the possibility of taking a six week trip to France to once again perform in Pinocchio. At first I didn’t think much of if, as I still had a show to do and it wasn’t until I received an email from Ivan later that night that I was like: ‘goddamn… this is serious’!

I emailed Aurelien right away asking for his permission (as he had returned to France) and I couldn’t have been happier when he said that it would be a great opportunity for me to perform in Europe. I had never been to Europe before, so I was freaking out as I had no idea how the people over there worked, and the fact that my French is well below beginner’s level. But as I was also going to be seeing some familiar faces, this gave me the confidence to simply enjoy this trip.

On arrival at the EuroAirport Basel, I was greeted by Ivan and Steven Roth (who also hap-pened to be in France for Christ-mas). And after this long journey I finally arrived at Ivan’s house to be greeted by our former Ballet Mistress, Eva Zmekova. It was a great start for me.

The first day of work, the company staff and dancers re-ceived me really well, as I had the chance to speak to most of them while warming up before class. Everything seemed great, and it just got better once I saw former WAB dancers Anna Ishii and Yann Laine arriving, it was like a big family reunion.

Even though I was very jet-legged, Ivan didn’t go easy on me as expected... I met the dancers who would be playing my ‘Geppetto’ and ‘Blue Fairy’ before class and had a little chat with them before rehearsals, only to find out that I had a ‘full run’ of the first act that after-noon.

Pinocchio being choreographed on me was amazing, but I can say that performing that role again was incredible. I learnt a lot with the dancers there and surprisingly enough, they all came to me for tips as I was in the original production.

We worked extremely hard... Pinocchio was never all about the dancing, it has a story line behind it, and as a result you need to be able to connect with the person you’re dancing with so that the ballet can come alive beautifully. That’s the problem with creating a ballet based on a story that everyone knows; all the things that make that story so special have to be included, even that one look between a father and a son. Ivan did a fantastic job with choreography and helped us bring out our characters with clarity and honesty so that everything and everyone would work as one.

I also had the opportunity of performing the ballet like it was my first time: the choreography came back to me very easily, I don’t think it ever left my body… but the characterisation of my role was something different, it was like every performance was the first performance.

I made some great new friends there in Alsace. And though most things were about work, my new-found friends took the time to take me around on some trips: Basel and Paris were amazing and I can’t wait to go back there on holidays.

After performing in three different theatres in three beautiful cities – Strasbourg, Colmar and Mulhouse – it was finally time to return home to Perth, to my WAB family and friends.

And one thing is certain... it’s good to be home!

A WHALE OF A TIME EN FRANCAISE!

By Demi-Soloist Andre Santos

Andre outside the Strasbourg Opera House

Andre as Pinocchio. Photo by Jon Green

Great Leaps students enjoying a crazy moment

PETER PAN STRIKES A CHORD WITH SOME VERY SPECIAL GUESTS

The ASeTTS (Association for Services to Torture & Trauma Survivors) organisation recently had the opportunity to host a group of clients at Peter Pan. “Whilst restoring identity, meaning and purpose as well as dignity and value, the performance gave our clients an opportunity to experience some-thing entirely new and magical. For those who knew the story, connections with fond memories of childhood and family were reignited, and those for whom the story was entirely new, allowed themselves to be entranced in the beauty” relates ASeTTS leader, Lucy McEvoy.

West Australian Ballet, with the support of Lot-terywest, is very pleased to work with community organisations like ASeTTS. ASeTTS provides invalu-able services to people who are humanitarian en-trants or are from a refugee-type background and who have experienced torture or trauma in their country of origin, during their flight to Australia, or while in detention.

THE INCREDIBLE SUCCESS OF ‘PINOCCHIO’, WITH RAVE REVIEWS FOR THE PERTH SEASON, AND NOW A SELL-OUT SEASON IN FRANCE, SHOWS THAT YOUR SUPPORT REALLY DOES MAKE A DIFFERENCE. BELIEF IN THE VISION FOR THIS NEW BALLET FROM OUR VALUED PINOCCHIO CAMPIONE HAS ENSURED WE HAVE A WORK OF INTERNATIONAL STANDING WHICH BRINGS GREAT KUDOS TO THE COMPANY WITHIN AUSTRALIA AND BEYOND.

'GREAT LEAPS' ABOUND FOR WA’S YOUNG DANCERS.

Photos by Sergey Pevnev

PATRON, PRIVATE GIVINGMrs Alexandra Burt

Major BenefactorsBendat Family FoundationAngela BennettMinderoo FoundationWestracMichael J.M. Wright

Bravura Circle $10,000+Alexandra & Julian BurtJane & Jock MorrisonDavson+Ward Quantity SurveyorsMary Ann Wright

Director’s Circle $5000+Greg & Anna BakerSusy BogleMarilyn BurtonTim Bult & Lisa ChurchIan & Rosana CochraneDon ConroyRoger & Christine DaviesRobert EdwardesCharles & Patricia GallucioPatricia GatesThe Robert Kimpton FamilyJohn Langoulant AOGreg, Cathy, Rhonda & Andrea MeyerowitzLejo OuwendykStan Perron Charitable TrustIngrid & Mark PuzeyRella ConsultantsDavid SmithDorothy & Allan SmithClair & John StanleySimon & Alison TurnerWindsor Knight Pty LtdHeather ZampattiAnonymous (2)

Choreographer’s Circle $2000+Helen AnsellCarol ConleyBarry & Carole Crommelin OAMNeil Archibald & Alan R. Dodge AMRod GonzalesJamelia Gubgub & David WallaceD. Hansen-KnarhoiBernard HartJojo’s Cafe & Acqua VivaPaul Jones & Clair MedhurstKennerleysChristine & David ThorpeBeth TownsendM & H TuiteJuerg & Elisabeth WeberGill & Jim Williams

Leading Artist’s Circle $1000+Tom & Heather BannermanDiana BeckTony & Mary BeeleyMatthew J.C. BlampeyHelen BurkeSally BurtonJohn & Gay CruickshankLesley DaviesMichael & Wendy DavisMario D’OrazioLorraine EllardThe Forrest FamilyMrs S GilletOle & Gerie HansenHelen HollingsheadNicky & Larry IfflaJim & Freda IrenicStephanie & John KobelkeJacqui & Peter MacliverDennis & Margaretha MaltzDr Andrew Miles

Heidi Kellner-MarshallDr Rob Kirk & Sarah GallinaghFrancis LandelsDr Karen McQuillanIn Memory of Anna MercerDr Andrew MilesPamela PlattSteven RothAurelien ScannellaTania & Darren ShillingtonStuart & Jacqueline StricklandDiana WarnockJoy WearneAnonymous (6)

Donors $500-100 Supporters

RECOGNITION OF GIFTS RECEIVED BETWEEN MARCH 1 2013 AND APRIL1 2014

KIRA BOUSLOFF BEQUEST CIRCLEWest Australian Ballet also graciously recognises those who have chosen to make a bequest or have left a legacyElla Fry BequestDavid M SmithRosalind SmithOlive Wheeler-BrennanFreddi WilkinsonAnonymous (4)

Kay Lee & Richard MurphyLynn MurrayCallum NeilLeanne O’MalleyPay It Forward FoundationFiona & Kurt SassenfeldEve Shannon-CullityDr Peter Simpson OAMKate SommervilleJan StewartStuart & Jacqueline StricklandRobyn TamkeRichard TaralaJohn & Soosie ThompsonPenelope & Rodney ThompsonLana Valenti (nee Henry)Wendy, James & Hudson WalkerAlexandra WelchOlive Wheeler-BrennanMargaret WhitterAnonymous (8)

Artist’s Circle $500+Allan BarbarichShirley BarracloughC & K BrownlieHelen CookKim & Valerie CottrellVictoria CousinsDavid CransonLesley & Peter DaviesJacinta and Michael EhlersLorraine EllardJ. FairweatherPippa Green Georgina HagertyLyn HardingBrit & Edward HelgebyFriends of His Majesty’s TheatreShona Anne AalOlive & Terry Hanson

1110

OPENING NIGHT WRAPS

Peter Pan

Ballet at the Quarry – Radio & Juliet

What a great way for WAB to end 2013, with a sell-out season of Peter Pan breaking all previous box office records.

The company received many notes of congratulation and this one from patron, Barbara Miller, aptly sums them all up: ‘The performance was a joy from start to finish.’

Likewise, 2014 got off to a strong start with a sell-out season of Ballet at the Quarry. A light-hearted trio of works in the first half, followed by the introspective take on Romeo and Juliet from choreographer Edward Clug in the second, was a hit with audiences and critics alike.

‘Most notable in Radio and Juliet was the focus and regal-like confidence Scannella had suffused into his principal dancers. Each one commanded absolute attention. Hardly a shuffle or cough emanated from the audience.’ – The Australian

VALE

West Australian Ballet remembers Julie Michael, former WAB Patron and wife of ex-Governor of Western Australia, Dr Ken Michael AC; who passed away in January after a long illness. Julie was a pas-sionate supporter and advocate of the company, generous in spirit and deed and always with a smile and kind word to say. She will be sadly missed.

ANNUAL GIVING 2013/2014West Australian Ballet gratefully acknowledges your generous support to Annual Giving

ONLINE DONATION Making a gift has never been easier... simply go to waballet.com.au and follow the prompts.

2013 ANNUAL REPORT

West Australian Ballet’s 2013 Annual Report is now available online at waballet.com.au > Multimedia > Publications. Learn more about the business of your ballet company: its achievements, chal-lenges and aspirations. More importantly, 2013 was a very suc-cessful year for the company, with a number of records broken. Read all about it in the 2013 Annual Report.

GREETINGS FROM THE CHAIR

LA FILLE MAL GARDEE CAMPIONEEach year, a group of visionary individuals come together to assist the creation of a new story ballet for West Australian Ballet. This group is called the ‘Campione’ and through their generosity and commitment to ballet repertoire, we are able to build sets and costumes for new productions. This year our Campione will support a glamorous new production of La Fille mal gardée to be premiered in September 2014. You can join the La Fille Campione with your tax deductible donation of $1000*. Please contact Catherine Henwood on (08) 9214 0707 or email chenwood@waballet.com.au for further information.

*La Fille Campione will be acknowledged in special ways, including an exclusive on-stage preview during the season.

MERCHANDISE Have you seen the latest range of West Australian Ballet merchandise you can purchase? They make for a great gift or a special keepsake for any balletomane. www.waballet.com.au/shop

HAVE YOU DISCOVERED WEST AUSTRALIAN BALLET? Go to waballet.com.au for information on public classes, special events, merchandise and a whole lot more!

I write this report as the last one for Friends of WAB as we know it. At our AGM on Monday 28 April our members voted overwhelmingly to move Friends from its own incorporated entity to be part of WAB’s philan-thropy programme, with a name yet to be announced.

We believe this will enhance your membership, stream-line benefits and give members greater access to ac-tivities and programmes. It also brings us into line with other arts ‘friends’ organisations such as WASO, who have headed down the same path. Current membership benefits will continue throughout 2014, with the new arrangements for 2015 being sent to you at the time of the 2015 Season launch in September.

We have helped West Australian Ballet in so many ways, raising over $500,000 since our inception through en-couraging attendances, organising fundraising events, providing special equipment, assisting with new produc-tions through our ‘Campione’ donors and have attained naming rights for the Friends of WAB Salle.

All of this has been made possible through your gen-erous support over the years. I am also very grateful to the many generous volunteer committee members, who have committed their time and expertise to our special WAB ‘cause’. You all have in some way helped us to achieve our goals.

Finally I would like to say what a privilege it has been to lead Friends over the last 15 years and I am honoured to have been the figurehead of this wonderful organisa-tion. My personal thanks goes to the staff and dancers of WAB, for making it so easy to connect with you all. I know Friends – in which ever shape it takes – will con-tinue to grow in the years to come.

And as I am always saying: ‘See you at the Ballet!’

Rodney Thompson Chairman

West Australian Ballet Centre

134 Whatley Crescent, Maylands WA 6051

PO Box 604, Maylands WA 6931

T: (08) 9214 0707 F: (08) 9481 0710

info@waballet.com.au waballet.com.au

EVENTSMONDAY VERNISSAGE

Monday 11 August, 7-8pm

The French Connection: bringing new life to heritage ballets – presented by Marc Ribaud, guest choreographer for La Fille mal gardee

Monday 6 October, 7-8pm

Romantic ballet and the art of the ‘white act’ – presented by former Prima Ballerina Assoluta, Maina Gielgud

Monday Vernissage aims to enhance your knowledge and enjoyment of ballet. Tickets are $30 or $20 for season package holders, and include a glass of bubbly on arrival.

PUBLIC CLASSES Adult ballet and contemporary classes take place every Tuesday and Wednesday at the West Australian Ballet Centre, taught by leading Western Australian dancers past and present. For fun and fitness, classes are offered at all skill levels as a term enrollment with some spaces available on a casual basis.

OPEN FRIDAYS Ever wondered how our dancers begin their day? General public are welcome to watch WAB’s Open Classes at 10am on the following Fridays: 30 May, 25 July, 26 September, and 31 October. $10 per person.

For bookings and/or further information for all events: email info@waballet.com.au or call (08) 9214 0707.