PATRONS, WEST AUSTRALIAN BALLET,
HIS EXCELLENCY DR KEN MICHAEL AC,
GOVERNOR OF WESTERN AUSTRALIA
AND MRS JULIE MICHAEL
PATRON, BALLET CIRCLE,
MS ALEX WRIGHT
OF BIKES AND BALLET SHOES
A TALE OF TWO CITIES
THE LONG ROAD FROM SCHENYANG
THE ‘ART’ OF CHOREOLOGY
BIRGIT DEHARDE ON HOW
TO RECREATE THE CLASSICS
WEST AUSTRALIAN BALLET MAKES
TRACKS ACROSS THE PILBARA
Cover photography by Frances Andrijich
Ivan Cavallari, Artistic Director
A new season about to be launched…
To please everybody is not always an easy task. There are older audiences, and younger
ones, ‘ballet’ audiences, and sometime no audience at all! Nureyev once said in an
interview that there is no such a thing as a good or a bad audience – so long as you come
to the theatre you are a good audience.
In that regard I had a wonderful mother. She used to take me as a young boy to play
theatres. She was a hairdresser and would work from 8 am until 8 pm; then at the end of
a long day at work we would eat quickly, prepares ourselves and head off to the theatre
(performances in Italy start at 8.30 pm – and we were never late). I developed my ﬁrst love
and interest for acting, and simply the ritual of theatre during these visits with my Mum.
Lights down, music, acting or singing, and light up. Over! In summer we would go to open
air venues to listen to great actors recite poetry. My father unfortunately was no longer
alive at that time.
My mum was a very modern minded lady, who never judged anything too quickly.
To her, going to the theatre was never about ‘I like it or I don’t like it’….but she always had
something constructive and intelligent to say, and her opinion is the one I miss most now
that I try to make my own ‘theatre’.
In 2008 I aimed to draw a line between the old and the new, traditional and modern;
and next year I will continue to draw the same line – to provide a versatile repertoire
that challenges my dancers (and sometimes the audience) and where the choreography
Therefore, I hope that you will all continue to be a ‘good’ audience in 2009, by coming to
the theatre to support my dancers. I wish you all a wonderful time with West Australian
Ballet, and thank everyone who has made a contribution to the Company in 2008 – this
really helps us a lot!
Photo: Frances Andrijich
IS THERE A MR KOCH
IN THE HOUSE?
What a big year 2008 has been! We took a huge artistic and ﬁnancial risk to the look out for a ‘Mr David H. Koch’! Mr Koch recently endowed $100 million to
deliver four seasons: a bold new interpretation of The Nutcracker, an expanded New York City’s State Theatre, to enable a complete reﬁt of the building to bring
company of 40 dancers for Cranko’s The Taming of the Shrew, a Quarry season it up to 21st century performing and rehearsing standards for its two resident
with two renowned international choreographers, and a move to the Regal for companies – New York City Ballet and City Opera.
an extra bit of variety (and a stage that the dancers can really move on!). All
“I’ve been going to the New York State Theater for 40 years,” Mr Koch said.
this and a West Coast tour across the Pilbara, and an East Coast tour of Simon
“I can assure you, I would not make a gift of this magnitude unless I was
Dow’s The Red Shoes.
absolutely convinced that the quality of the work was world class.” (New York
Well, I am very pleased that we were able to deliver on our promise of artistic Times, 8 July 2008)
excellence. The State Government also recognised the potential for Australia’s
With continued investment, West Australian Ballet can become the world-
oldest ballet company, by recently awarding West Australian Ballet (WAB) a
class company Western Australian’s deserve to have. Whilst we are not looking
signiﬁcant increase in funding ($1.2 million annually) to permanently expand
for $100mil – although that would be sensational! – we do need to ﬁnd a
the troupe to 32 dancers. This size ensemble – together with our Young Artist
benefactor/s who will assist with this second stage of our strategic plan. And
Program – will provide the necessary depth to present a broad diversity of
of course, your individual support is vital to the continued development and
signiﬁcant modern and classical repertoire including many of your ‘family
success of repertoire, dancer well-being and young artist training programs.
favourites’ along with choreographers such as Balanchine, Robins, Forsythe
and the like. As the year quickly draws to a close, I would personally like to thank all those
who have made a gift to the Company – your ﬁnancial and moral support is a
The great challenge ahead, is where to now house this larger company.
genuine motivator for us all to continue working hard to achieve great things for
Historic His Majesty’s is a beautiful old building, but it has outgrown its
the Company, for Perth, for Western Australia and beyond.
capacity to effectively house a number of expanding companies including
WAB. Accommodation is our most pressing issue, as we would not like to again I hope you enjoyed the diversity and calibre of artistry in Ivan’s ﬁrst season, and
jeopardize the artistic program and dancer training by cancelling guest artists we look forward to seeing you at the Quarry in February 2009.
and rehearsals due to lack of essential rehearsal space.
Moving the Company will of course be a costly venture, and will require a Steven Roth
partnership of government, corporate and private support. Therefore, we are on General Manager
BALLET CIRCLE PATRON
FROM THE GREEN ROOM
West Australian Ballet is pleased to announce
the following new appointments: Artistic
3 4 Administrator, Alica Byﬁeld; Sponsorship
Manager, Emily Holt, Executive Assistant and
Philanthropy Coordinator, Lisa Ashby; Craig
JAYNE SMEULDERS WINS WEST AUSTRALIAN DANCE AWARD Lord-Sole, Ballet Master; and Eva Zmekova as
Joining the Dancers are: Sophie Fletcher from
New Zealand, Yann Laine from France, and
Perth born Kyla Moore. We would also like
to welcome Guangchen Fu, Assistant Ballet
Master, who was provided a place in our
Young Artist Program.
We wave a fond farewell to Anthony Bell,
who as most of you know has moved onto
pastures new in Melbourne, and Debra
Reinecke who will be returning to us next
year following the birth of Isobel.
BALLET INSIGHT INTO TOURING TOUR
WEST AUSTRALIANFLETCHER GIVES ANREGIONAL THE PILBARA.
FROM THE BEACH TO THE BARRE, SOPHIE
A DAY IN THE LIFE
A SNEAK PEEK INTO A DANCER’S LIFE ON TOUR
7.00am Wake up
8.00am Walk along the beach in Port Hedland as the sun rises
10.00am Breakfast by the pool followed by a few hours of sun-
baking, music and eventually some impromptu dancing
(it never stops!)
4.00pm Class on the open air stage looking at the beach
and the blinding sun (necessitating the addition of
sunglasses to our usual warm-up attire! very vogue)
5.00pm Extra costumes and music arrive with Steven for last
minute casting and program changes due to injury
6.00pm Emergency rehearsals for casting changes
7.00pm Curtain up…..well as there was no curtain I guess you
call this sun-down?!
9.00pm The performance went smoothly despite everything
and the atmosphere of an outdoor stage was amazing,
with the wind blowing your hair and ships lights miles
in the distance- it brought a whole new meaning to the
10.00pm We arrive home after packing up, to ﬁnd a buffet of
salads and BBQ around the pool
11.00pm To ﬁnish the night the French boys and I walk the beach
singing “La vie en rose!”
HIGHLIGHTS OF THE REGIONAL TOUR
• Last minute casting changes gave opportunities to; Mathias Deneux, who stepped into the Principa
on!), Timothy O’Donnell, who performed the pas de deux in
pper’s piece Ra
on an open air stage; the atmosphere was amazing and the fear factor was heigh
e – many potential crowd
waite performed in Port Hedland just before us but couldn’t attract an audience as big as o
gymnasium in Newman with an improvised choreographic workshop,
The end of tour dinner with everybody around one long table – a fantastic end to a great tour.
d of course the sun!!! We don’t see much living in theatres
2 3 4 5
Photos: Jenny Hodder. 1&2) Daryl Brandwood and Megan Futcher. 3) Meg Parry
Where are they now?
• Who are these dancers striking a pose beside a MacRobertson Miller
aircraft, whilst on tour in the Northwest of Western Australia in 1966?
• Let us know on firstname.lastname@example.org
Photo: Chen Chen
A few things we bet you didn’t know!
• Pointe shoes for Bolero and Lacrimosa
are slightly different colours; wardrobe
mixes up the dye and we paint them
during the show.
• We pack all our ballet clothing and
make-up in tour bags which are
taken on the truck to each venue-
leaving plenty of room for shopping
in our suitcases!
• To keep warm during outdoor shows The 2008 North West Tour gave a number of schools
we have blankets side stage and huddle the amazing opportunity to participate in hands-
in them before our entrances.
on workshops with dancers from West Australian
• We travel with our own sprung ﬂoor Ballet. School children of all ages were delighted at
which is laid out at each venue just
before we arrive – luxury! the chance to be up close and personal with the
• At every venue we have to ‘place’ dancers, join in dance and choreographic exercises
each piece before we perform it as and discuss how dance can be incorporated into a
every venue is a different size and healthy and active lifestyle.
therefore slight variations to placement
are required. The enthusiasm showed by the kids was infectious
• The soundtrack to bus trips turned and we uncovered some great talent and potential
out to be ABBA and Barbie Girl with future members of the company!
WA regional touring is made possible through the support of the Department of Local
Government and Regional Development, and BHP Billiton Iron Ore.
FRED ASTAIRE MOVIES AND TAP
DANCING ‘KICK START’ A BALLET CAREER.
CASS MORTIMER-EIPPER SPEAKS
TO EMMA SANDALL
Cass Mortimer Eipper joined West Australian Ballet Company two years ago
straight from The Australian Ballet School in Melbourne, where he grew up. ‘I
come from a family of ﬁlm buffs and I remember watching plenty of Fred Astaire
and Gene Kelly movies as a kid. These inspired me to take up tap dancing, and
luckily my request was granted by my parents. Then when I was 11 my dance
teacher kind of tricked me into taking up ballet by asking me to understudy a
boy in the ballet concert. I really loved the story element of it and the following
year decided to take it up.’
At 16 Cass made the decision to pursue a career in dance, auditioning for
The Australian Ballet School, he says ‘My family and friends were completely
supportive about the choice and fortunately for me the school happened to be
in the city that I already lived in.’
But things were not that easy, Cass talks of how he had to travel 3 hours a day
to school; ‘getting up at 6 in the morning every day wasn’t exactly the highlight
of my teenage years. Not when I’m the kind of person who would start work at
mid-day every day if possible! It was a lot of hard work physically and mentally,
but by the time I graduated I was a lot better at dancing and I knew much more
about myself. Whether the experience is positive or negative for a student at
The Australian Ballet School; you are always guaranteed an experience.’
Since joining West Australian Ballet, Cass has been fortunate enough to play
a number of exciting roles; ‘My ﬁrst, very exciting, memory in this company
Photo: Frances Andrijich
22-year-old Guangchen Fu (known to us all fondly as Chen Chen) joined the
Company’s Young Artist Program earlier this year, not as a dancer, but rather as
Assistant Ballet Master. The incredible twists and turns that have led Chen Chen
to his current position are remarkable in themselves, and reveals much about
this young artist’s resolve.
At age eleven, Chen Chen was considered worthy of a position at The Ballet
School of Liaoning Ballet in Schenyang, China. While his father was a little cool
about the whole affair, Chen Chen’s mother was very positive about the offer,
he recalls ‘My mother explained to me that it’s a very special chance, because
they came to choose me.’
Chen Chen’s ﬁrst year at Liaoning Ballet School was tough; he was bottom of
the class at the end of ﬁrst semester and was the least ﬂexible student in his
class, which he explains led to some special attention from his teachers; ‘While
everyone is sitting with their legs in split position, my teacher comes and sits on
me. Some other students were not that ﬂexible, but better than me, and they
were always crying because the teacher had to sit on them and push so hard. I
never cried.’ Determined to improve, Chen Chen worked hard enough to attain
the third highest mark in the class by the end of second semester.
In his second year, a teacher, Mars Mihailovich, from Perm, Russia arrived at
the school. Chen Chen remembers how Mars suggested that he think about
teaching rather than dancing; ‘He told me once, privately, that I should be
thinking more in a teacher’s way more than thinking in a dancer’s way.’
At age ﬁfteen, Chen Chen met Ivan Cavallari – who was creating The Last Emperor
and I for Liaoning Ballet – for the ﬁrst in a series of fortuitous encounters. Ivan
THE ROAD TO PERTH WAS A GRUELLING ONE offered him a small role in the ballet, a fantastic opportunity, as most students
FOR YOUNG CHINESE DANCER GUANGCHEN FU only got to perform with the company in their ﬁnal year. The pair met for the
second time when Ivan returned to restage The Last Emperor and I for Liaoning
BY TIM BALFOUR
Photo: Alex Donnini
was in my second season when Chrissie Parrot gave me the opportunity to
perform the role of Puck in her production of A Midsummer Night’s Dream. I
couldn’t have asked for a more enjoyable ﬁrst big role.’ Since then Cass’s credits
have included Grisha (Simon Dow’s The Red Shoes), Frankie (Chrissie Parrot’s
Coppelia), The White Rabbit and King of Hearts (Simon Dow’s Alice), Gremio
(Cranko’s Taming of the Shrew), and the principal role in Petr Zuska’s Bolero.
Cass made his choreographic debut Ballet at the Quarry Season 2008 presenting
the quirky Ludwig Ravelling, and he says there is plenty more to come; ‘Ever
since then I’ve had a huge drive to keep creating more work. I’ve learned so
much about working with dancers and how to stir up my own creative juices. I’ve
just started a new work which will feature in Strut dance‘s “Dyetto workshops”
at the end of October.’
When he isn’t dancing Cass describes himself as a ‘bit of a ﬁlm and TV fanatic,’ in
fact if he hadn’t become a dancer, he explains, he would have pursued a career
in either ﬁlm creation and directing, or full-time acting; which he enrolled in a
course for earlier this year.
When asked what else Cass enjoys outside of dance he explains; ‘I love riding
my motorbike and bicycle, I’ve got a bit of a ﬂair for Poker, and I would say I 4 5
loved a particular cuisine but I actually just love eating! And of course I love
spending time with my partner Emma.’
Photos 1,2,4,5) Alex Donnini. Photo 3) Jon Green.
Ballet. This time, due to his increased ﬂuency in English, Chen Chen acted as
Ivan’s translator during company rehearsals; ‘After Ivan ﬁnished ‘cleaning’ his
ballet, I went on tour with the company around China.’
After returning from the tour, Chen Chen set off to Europe for a dance course
in Bolzano, Italy (Ivan Cavallari’s hometown). He auditioned successfully for
two schools in Germany: John Cranko’s Ballet Academy in Stuttgart, and Heinz
Bosl Stiftung in Munich. Chen Chen progressed well in Munich, and eventually
managed to secure a contract with Munich’s Bavarian State Ballet. However,
due to injuries he sustained while training in Germany, Chen Chen never joined
the Bavarian State Ballet.
Faced with the choice of having a risky hip operation to continue dancing, Chen
Chen sought counsel from his Liaoning School mentor, impresario Jongky Goei.
Jongky considered all of the options and suggested that he should work at the
Liaoning Ballet as company translator and coordinator for international guest
artists; a newly proposed position inspired by Chen Chen’s previous success in
While Chen Chen longed to have some kind of career as a performer, he felt
that Jongky had offered him some very sound advice, but before he could
ﬁnalise arrangements with Liaoning Ballet, Ivan again intervened by offering
an exciting position with West Australian Ballet.
‘What has happened in my life has happened all very luckily, and been very
much a surprise;’ says Chen Chen ‘I’m very happy to give a hand to Ivan,
because I’m happy when I see that I’m being useful to a professional ballet
company and adding something to it. I want to make something that is helpful
for the company, for others, for the arts.’
If this story has left you wanting more, please see our website for the full
Photo: Frances Andrijich
BIRGIT DEHARDE TEACHES US THE ‘SCIENCE’ OF CHOREOLOGY
BY DAVID HOUGH
Birgit Deharde is a choreologist with the Stuttgart Music is always an issue with notation. Some
Ballet. Her job is to record dance using a system of choreographers know exactly what they want.
notation, not unlike musical notation since it uses Others are less certain, still looking, and open to
a stave of ﬁve horizontal lines, bar lines to show inspiration. This is a challenge.
the passage of time and a language of symbols.
How did you come into dance, and how has dance
Birgit was in Perth to help Ivan Cavallari restage
experience affected your approach to notation?
John Cranko’s 1969 ballet The Taming of the Shrew.
Photo: Jon Green In between rehearsals she was reading Khaled My mother is a teacher; my father owned a chain
Hosseini’s acclaimed novel, The Kite Runner. ‘My of newsagents. We lived in Bremen and I was sent
SPOTLIGHT ON mother is very good at ﬁnding books for me to to boarding school. I began skating at age four
read, especially when I am travelling.’ – ice-, ﬁgure-, roller-skating – but at about 12 years
of age my coach suggested ballet classes. I had
I talked with her in May, just before she returned
suffered a number of injuries to knees and wrists
but despite these, ballet came easily.
What system of notation do you use, and how
As a former dancer you acquire a completely
complex is it?
different way of thinking about the analysis of
I use Benesh Movement Notation. I took a sixteen- movement. Ex-dancers sometimes have problems
month course at the Institute of Choreology in re-constructing movement. They are so busy
London. It was the only place to study at that analysing they sometimes loose the natural
time but later a three-year course began at the way of moving and trip over their own feet! For
Conservatoire de Paris. The Benesh system puts a example, watching a pigeon walking and nodding
very strong emphasis on the theory of movement. its head [here Birgit mimes the action] and then
It is widely used in Europe but is not so popular trying to write it down. Or drinking a cup of coffee.
in America. Sometimes your dance training gets in the way.
I was mesmerised by the sight of kangaroos in the
In classical ballet a tendu is a tendu. In contemporary
park, the way they hopped, the way they reclined
work, the foot might be ﬂexed or varied and this
[and again she mimes the action, but just with
has to be noted every single time. So notation
is more complex for contemporary than it is for
classical. And of course a lot more information is Birgit prefers small town living. Stuttgart is about
needed in the frame in contemporary than it is in the same size as Perth. ‘I could never live in Berlin.
classical. For this reason contemporary work is not I’m not very patient and I don’t like long travelling
always easy to learn so the notation is combined times,’ she says. Two days after returning to
with video-taping. Germany she sent me an email to say she was
missing the warmth of Perth already, not just the
The aim is to be faithful to the choreography—all
weather but the warmth of the friendships she had
of Cranko’s ballets are preserved in a Benesh
made. She then overcame her dislike of travelling
score—so I’m very strict with the corps de ballet
and followed the sun to the Indonesian island of
and with pas de deux but sometimes you break
Sumatra where it takes ﬁve hours by bus to travel
the rules. I only break the rules to come up with
an alternative that makes a dancer look better. But
the movement must always be written down. Birgit was with West Australian Ballet in April to
restage John Cranko’s ‘The Taming of the Shrew’.
BY DAVID HOUGH
When the Maloja arrived in Fremantle on Tuesday 20th September 1938 bringing The captain radioed ahead to Australian Quarantine and the Perth Zoo. When
Colonel de Basil’s Russia Ballet to Australia, three of the passengers were Kira the Maloja birthed, according to Irina in her autobiography, a zoo van was
Abricossova, Irina Baronova and Aden Gazelle. Aden who? waiting to taken Aden Gazelle to his new home – the Perth Zoo. In fact, this
appears not to have been the case.
Once through the Suez Canal the company took a shore break when the boat
docked in Aden, Yemen. Irina and Kira, best remembered as Madame Bousloff The company’s visit is given extensive coverage in The West Australian but
(founder of West Australian Ballet), went for a walk along the wharf where they there is no mention of the Antilopini incident. Contemporary Eastern States
rescued a small gazelle, its legs trussed, from two boys dragging it along the papers record that Aden was found a home at the Melbourne Zoo.
ground, and smuggled it aboard. When at sea, they told the captain of what
This black & white photo, taken by Patricia Mary Cape, was acquired by the
they had done. He was unimpressed but feminine charm cooled his anger and
National Library in 2006. On the reverse side is an ink inscription: “Kira & ‘Aden’,
they were allowed to keep it, caged below deck.
Maloja, Sept. ‘38”
BALLET AT THE REGAL
OPENING NIGHT WRAP
Our ﬁrst season of Ballet at the Regal brought out a few restaged favourites
from the 2008 Quarry Season, particularly Petr Zuska’s Bolero and Maria’s
Dream, and provided the perfect platform to stage a spectacular new piece
by Natalie Weir. Natalie, who has worked extensively with Australian dance
companies as well as in America and Hong Kong, created a challenging and
emotional piece for the dancers, Lacrimosa, drawing inspiration from Mozart’s
Requiem, and exploring a man’s contemplation of death.
The Regal Theatre added a new atmosphere to the performances, still
retaining a number of original features which reﬂect the way of life in the late
1930s; the ‘Love Seat’ (with the beneﬁt of no arms), a Crying Room where
mothers left their babies, Art Deco chrome and jarrah ﬁttings, and a motif
from the “Milady’s and Gentlemen”, it also, to the delight of our dancers, had
a vast performance space…they almost didn’t want to come home!
Ballet at the Regal was proudly supported by the City of Subiaco.
West Australian Ballet pays tribute to our Nutcracker
Campione (Champions), whose very generous
support enabled Edoardo Sanchi’s bold set design
to be completed.
Alan Dodge (2)
Terry & Elizabeth Allen
Rick & Kerry Blair
Ian & Rosana Cochrane
Mr & Mrs F. Ewell GALERIE DUSSELDORF
Robin & Liz Forbes (2)
Louise Forrest , arilyn, Rodney, Cat
Friends of West Australian Ballet (5)
Russel & Tamara Gibbs For the second fundraising event held in our Campione quest, we were fortunate
Brendon & Susan Grylls enough to have the spectacular Galerie Dusseldorf open their doors to us for an
Evelyn & Mark Hall evening of entertainment. Surrounded by Pamela Gaunt’s Errant Abstractions,
David Handley Ivan Cavallari (Artistic Director) and Edoardo Sanchi (Set Designer) enthused
Ole & Gerri Hansen (2) passionately about their plans for the upcoming production. The night was a
great success and the enthusiasm for their vision was infectious.
Jeff & Di Hay
JCY Archietects & Urban Designers
Walter & Sue James
Gillian & Stewart Johnson
Anthony & Pamela-Jayne Kinder
Campione Thank-you Event
Jaqcui & Charles MacKinnon
Bret Mattes, Lynfae Harris, Amy, Bryony & Isabella (2)
Jacqui McPhee Interiors
Mr Paul Jones & Ms Clair Medhurst
Jane & Jock Morrison
Fred & Georgina Nagle
M. E. New (5)
John & Sarah Palermo
The Stan Perron Charitable Trust
Pamela Platt & Janet Williams
Howard & Lindsay Read
Linda Savage & Declan Davis
Simon Lee Foundation
June Stevens & Bob Davies
David & Cate Sutton
Telford Industries 1 2
Rodney & Penelope Thompson
Geoffrey & Jennifer Towner
Mr & Mrs Townsend
David & Freddi Wilkinson 3 4
Sandra & Ron Wise
Ms Heather Zampatti
Ashley & Anita Zimpel
PRIVATE GIVING 2008
Ms Alex Wright
D G Cruickshank
Mr & Mrs David &
Mr Paul Jones
Gaye & John McMath
Mrs Clair Medhurst
Dr Bill Muston
Jane & Jock Morrison
H & M Tuite
Ms Heather Zampatti
Dr. H. Burmej & Prof. G. O’Driscoll
Dr & Mrs Browlie
Hon Peter & Mrs Benita Dowding
Mrs & Mrs Fini
Mr & Mrs Don Forrest
Mrs N Forrest
Friends of the Theatre
The McCusker Charitable Foundation
Bernard Mearns ESTATES
Maya Nadarajah West Australian Ballet appreciates and
Susanne Sweetland pays tribute to the generosity of those who
Synergize Consulting have chosen to remember us in their Will.
John Thornton These estates have been invaluable to the
Toybox International ongoing achievements of the Company.
Mrs Karina Waters Mrs Ella Fry (through the Ella Fry Trust)
Mrs Caroline Witting Mrs Dorrie Watson
Anonymous (5) Kitty Rix
Did you know that you
A Special Thank-you... can now donate on-line at
“A special thank you to Rita Pasqualini, who provided (on behalf of AUSIT – Australian www.waballet.com.au?
Institute of Interpreters and Translators) translation and interpreting services for our
recent production of The Nutcracker, thus promoting collaboration between arts and
languages professionals. Thank you to West Australian Ballet donor
deChâteaux for designing our Ballet News.
GREETINGS FROM THE CHAIR
ear is rapidly coming to an end, I am thrilled to let you know we have
p of Friends of the Ballet by 30 per cent over the past 12 months. This rise in
p us raise awareness within the community of how worthwhile the
FESTIVAL OF DANCE JUNE 2008
ur fundraising efforts; such as raising more than Friends of West Australian Ballet were proud to support the
to help cons RAD Festival of Dance, which was held at the John Curtin
ooking back College of Arts, in June. This was a three-day programme,
with me that it has been a spectacular year, with a sple which included a Contemporary Workshop on Friday, and
excit thirteen groups competing in different age and dance styles
o yet another fabulous year! 2009 membership form
the subscription brochure at the end of October, and I look forw Rodney Thompson (Chairman) and Jillian Mather (Secretary)
k with many exciting pla were delighted to be invited to attend the Gala Evening
when Rodney presented the Friends Award to Keith Chin
Please also consider our fundraising lunch on 24 Oct with Steven Heat
the winner of the Male Dancer’s Award age 17+. Friends
riends Christmas function (details to be announced soon) so we can continue our efforts
are happy to support these wonderful young dancers who
assist our West Australian
will be the future of Dance in Western Australia.
Friends of West Australian Ballet is an Friends’ upcoming events
independently constituted organisation
with the purpose of supporting the
ballet, raising the proﬁle of the Ballet
in the community and providing access
to the company for Friends of West
For membership enquiries please
contact Friends of West Australian Ballet
Membership Secretary, Julie Norton, on
(08) 9284 4726, 0414 988 097 or email
www.waballet.com.au/friends We would be delighted to have you join us for this special luncheon. Please
contact Ingrid Puzey, 29 McNeil Street, Peppermint Grove 6011.
WEST AUSTRALIAN BALLET
His Majesty’s Theatre
825 Hay Street Perth WA 6000
PO Box 7228 Cloisters Square Perth WA 6850
T: (08) 9214 0707 F: (08) 9481 0710