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VIEWS: 101 PAGES: 12

                   MS ALEX WRIGHT

                SPRING 2008
                               ON TOUR
        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
                                                                      is paramount.
                                                                      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!
                                                                      Ivan Cavallari

Photo: Frances Andrijich

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


                                                   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
                                                   Ballet Mistress.
                                                   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

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
            word projection
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!”


• 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

   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!
  karaoke inevitable!

                                             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
                                                       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

                                                       GUANGCHEN FU
                                                       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

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
this area.
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
                                                          to Germany.
                                                                                                                 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
                                                                                                                  her hands!].
                                                          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
                                                                                                                  100 kilometres!
                                                          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’.

Aden Gazelle

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”

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!
                                                                                                              1                                       2



                                                                                       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
                                                         THE CAMPIONE
support enabled Edoardo Sanchi’s bold set design
to be completed.

Alan Dodge (2)
Terry & Elizabeth Allen
Neil Archibald
Susie Bailey
Rick & Kerry Blair
Sally Burton
Marilyn Burton
Willam Carr
Ian & Rosana Cochrane
Gina Culley
Marco D’Orsonga
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
Susie Hovell
JCY Archietects & Urban Designers
Walter & Sue James
Gillian & Stewart Johnson
Anthony & Pamela-Jayne Kinder
Rosalind Lilley
                                                         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)
Norah Ohrt
John & Sarah Palermo
The Stan Perron Charitable Trust
Perth Galleries
Pamela Platt & Janet Williams
Pracsys (2)
Rosemary Pratt
Howard & Lindsay Read
Joy Sparrow
Linda Savage & Declan Davis
Simon Lee Foundation
Clair Stanley
June Stevens & Bob Davies
David & Cate Sutton
Telford Industries                                                                              1                                                   2
Rodney & Penelope Thompson
Geoffrey & Jennifer Towner
Mr & Mrs Townsend
Pina Venturini
Diana Warnock
Suzanne Weir
Sue Wenn
David & Freddi Wilkinson                                                                        3                                                   4
Sandra & Ron Wise
Ms Heather Zampatti
Ashley & Anita Zimpel
(Anonymous 4)

     Ms Alex Wright
     D G Cruickshank
     Marco D’Orsogna
     Rella Consultants
     Anonymous (3)
     Mr & Mrs David &
     Hannah Goldstone
     Mr Paul Jones
     Rosalind Lilley
     Louise Macfie
     Gaye & John McMath
     Mrs Clair Medhurst
     Dr Bill Muston
     Jane & Jock Morrison
     H & M Tuite
     Freddie Wilkinson
     Ms Heather Zampatti
     Anonymous (3)
     Dr. H. Burmej & Prof. G. O’Driscoll
     Dr & Mrs Browlie
     Hon Peter & Mrs Benita Dowding
     Mrs & Mrs Fini
     Mr & Mrs Don Forrest
     Louise Forrest
     Mrs N Forrest
     Friends of the Theatre
     Bernard Hart
                                                                                           PRIVATE FOUNDATIONS
                                                                                           The McCusker Charitable Foundation
     John Kobelke
     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 
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
                                                                                                    on Saturday.
          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
          Australian Ballet.
          For membership enquiries please
          contact Friends of West Australian Ballet
          Membership Secretary, Julie Norton, on
          (08) 9284 4726, 0414 988 097 or email

                                       We would be delighted to have you join us for this special luncheon. Please
                                                                            contact Ingrid Puzey, 29 McNeil Street, Peppermint Grove 6011.

     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

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