Sir Kenneth MacMillan’s

Romeo & JulietProudly presented by Suncorp

With Queensland Symphony Orchestra

28 AUGUST – 7 SEPTEMBER , 2019Lyric Theatre, QPAC

Romeo & Juliet28 AUGUST – 7 SEPTEMBER2019

Lyric Theatre,QPAC

Choreographer Sir Kenneth MacMillan

Composer Sergei Prokofiev

Staged by Julie Lincoln

Fight Director & Stager Gary Harris

Set & Costume Designer Paul Andrews

Lighting Designer John B Read

Principal Coach Leanne Benjamin

Lighting Recreated by Cameron Goerg

Conductor Nigel Gaynor

Guest Conductor Alondra de la Parra

Music performed by Queensland

Symphony Orchestra

This performance lasts approximately two hours and fifty

minutes with two intervals of twenty and fifteen minutes each.

Information correct at the time of printing.

Choreography taught from the Benesh Notation.

Cover and Title Page: Principal Artists Yanela Piñera and Camilo Ramos

Creative Direction Designfront Photography Juli Balla

Little moments,

lasting memories

Photography David Kelly

Creative Designfront

SuncorpPrincipal Partner of Queensland Ballet

00

00

FROM THE ARTISTIC DIRECTOR

Ashton had chosen not to mount his own

production, which he had created for the Royal Danish

Ballet in 1955, amid concerns that his more intimate

interpretation would be compared unfavourably with

the Bolshoi Ballet’s grand, large-scale production

by Leonid Lavrovsky, brought to Covent Garden in

1956. MacMillan seized the chance, but he had less

than five months to create his first three-act ballet.

Arguably the beating heart of the work, MacMillan

had created the balcony pas de deux when his muse,

Royal Ballet Principal Lynn Seymour, asked for a duet to

perform on Canadian television in the summer of 1964.

He created the famous balcony pas de deux for Seymour

and fellow Principal Christopher Gable, and when given

the opportunity to produce the full-length ballet, he

continued to work closely with both dancers, having lengthy

discussions with them on the nuances of character.

MacMillan began by choreographing the ballet’s

remaining pas de deux. Romeo & Juliet was built around these

powerful duets, which offer unique intimacy, psychological

substance and technical depth for the dancers. They

also give the audience an almost voyeuristic insight into

Romeo and Juliet’s developing relationship. The effect is an

immediate empathy with the lovers, which makes watching

their terrible fate unfold such a moving experience.

MacMillan was always drawn to dark stories: his

subsequent ballets Manon (1974) and Mayerling (1978) are

also laced with bleakness and despair. Romeo & Juliet’s

enduring popularity lies in his approach to choreography,

and especially to characterisation. Asserting that he

was “sick of fairy-tales”, MacMillan was determined to

portray real life and raw emotion, explore psychological

motivations and depict human, fallible characters.

In contrast to its intimate scenes, the ballet also offers plenty

of grand spectacle, such as Act 1’s ballroom scene and the

exciting, nail-biting sword-fights. Shakespeare’s story has a rich

tapestry of characters, and MacMillan’s gift was to draw their

personalities as clearly as their actions drive the narrative.

For the premiere on 9 February, 1965, the title roles were

controversially given to Rudolf Nureyev and Margot Fonteyn,

as their names alone would guarantee box-office success.

When the curtain came down, the audience erupted into

rapturous applause, demanding a legendary 43 curtain calls.

Seymour and Gable danced as second cast, receiving rave

reviews for their fresh and spirited approach to the roles.

In terms of music and choreography, Queensland Ballet’s

production is essentially the same one that enthralled audiences

in 1965. The designs, however, were created for a production by

Birmingham Royal Ballet in 1992. MacMillan had seen the degree

show of young designer Paul Andrews, and approached him to

create the sets and costumes for Birmingham’s production.

Andrews took a subtler, more restrained approach than

original designer Nicholas Georgiadis had for the Royal Ballet’s

production. Atmospheric lighting by John B Read on Andrews’s

elegant, marbled set evoked the beauty of a Renaissance

painting. Over twenty years later, the sets remain a craftsman-

like canvas on which MacMillan’s extraordinary ballet comes

to spectacular life.

Sir Kenneth MacMillan’s approach to choreography and

characterisation was a revolutionary update to the genre of

narrative ballet. Romeo & Juliet told a realistic story of two

young lovers at the mercy of powerful social forces, characters

with whom the audience could identify. The balcony pas de

deux contains some of the most beautifully lyrical dancing

in the repertoire, overlaid with a simmering sexuality. As the

dying Juliet reaches for Romeo in the crypt, the lovers are

finally together yet separated by death, creating what is

surely one of ballet’s most dramatic and poignant moments.

ARTICLE EDITED BY JEAN ATTWATER

SIR KENNETH MACMILLAN’S ROMEO & JULIET

The Royal Ballet’s Artistic Director Frederick Ashton commissioned choreographer Kenneth MacMillan to create

Romeo & Juliet in September 1964.

Rom

eo &

Jul

iet

Greatest love story of all tim

e

Not only was it the ballet that broke a 54-year box

office record for Queensland Ballet back in 0014 and

marked the start of a remarkable period of growth for

our Company, it also put us on the global ballet map.

MacMillan’s Romeo & Juliet is certainly considered one of

the premiere versions of this classical ballet and Queensland

Ballet is only one of a small number of ballet companies in

the world granted the rights to perform this work. The trust

that Lady MacMillan placed in us as a company to deliver this

production, was a leap of faith at the time. We were a much

smaller company then, yet she saw our potential, believed

in our ability and our commitment to excellence.

When we first performed this production in 2014, we

brought out a raft of international ballet stars including Carlos

Acosta, Tamara Rojo and Steven McRae to supplement our

dancer numbers and to take on the lead roles. This year

I couldn’t be any prouder of the fact that Queensland Ballet

can stand on its own and deliver a world class performance

of this demanding production.

Romeo & Juliet was the first three act ballet that MacMillan

created and when it premiered in 1965 the title roles were

controversially given to superstars Rudolph Nureyev and

Margot Fonteyn despite being created on other dancers.

I’m thrilled that our very own dancers are taking on all the

lead roles in this season and doing so with such artistry, grace,

impeccable technique and passion.

They have had the privilege of training under the watchful

eyes of such ballet luminaries as Gary Harris, Leanne Benjamin,

Julie Lincoln and Lady MacMillan herself and we thank them

all for their whole-hearted investment in us as a Company.

It is a joy to be welcoming a number of former QB dancers back

to the stage for this production in character roles including

Rachael Walsh, Christian Tátchev, Zenia Tátcheva and Matthew

Lawrence as well as Steven Heathcote am of The Australian

Ballet. I’m sure many of you will recall their presence on stage

in our 2014 season of this ballet.

As a testament to our close partnership with the glorious

Queensland Symphony Orchestra, Music Director Alondra de la

Parra will conduct five select performances of our season, the

first time she has ever done so. It’s creative partnerships such

as this that allow us to continue to grow and diversify audiences

across our artforms and we couldn’t be happier to welcome

Alondra to our season.

As always, we are endlessly grateful to our partners who

generously enable seasons such as this through their ongoing

support. To our Presenting Partner Suncorp, I offer my heartfelt

thanks for their ongoing support and generosity, that has

allowed us to bring this magnificent season back to the QPAC

stage. I would also like to extend my gratitude to our State and

Federal Governments, and Major Partners JCDecaux, Sealy,

Shell’s QGC Business and Virgin Australia.

Over the years Sir Kenneth MacMillan has been hailed as

everything from a rebel, to one of the greatest choreographers

of his time, a lover of humanity, movement and expression.

This ballet shows why he was also one of the best choreographic

communicators and the master of the pas de deux. The lustrous

partnering, depth of characters, epic story scenes and flawless

musicality of this production is quite breath-taking.

I invite you to step into “fair Verona” with us, lose

yourself in this magnificent ballet that wonderfully weaves

through Shakespeare’s classic tale of young love, waring

families and tragic loss.

Li Cunxin AOARTISTIC DIRECTOR

There are a few ballets that hold special significance for me, all for quite different reasons. This ballet,

Sir Kenneth MacMillan’s Romeo & Juliet, is one such ballet.

05

04

Based on the play by William

Shakespeare, believed to have been

written between 1591 and 1595.

The ballet is set in Verona.

Act 1

Scene 1The Market Place

Romeo, son of Montague, tries

unsuccessfully to declare his love for

Rosaline and is consoled by his friends

Mercutio and Benvolio. As day breaks

and the townspeople meet in the market

place, a quarrel develops between Tybalt,

a nephew of Capulet, and Romeo and his

friends. The Capulets and Montagues

are sworn enemies and a fight soon

begins. The Lords Montague and Capulet

join in the fray, which is stopped by the

appearance of the Prince of Verona, who

commands the families to end their feud.

Scene 0Juliet’s Ante-Room in the Capulets’ house

Juliet, playing with her nurse, is

interrupted by her parents, Lord and

Lady Capulet. They present her to Paris,

a wealthy young nobleman who has

asked for her hand in marriage.

Scene 0Outside the Capulets’ house

Guests arrive for a ball at the Capulets’

house. Romeo, Mercutio and Benvolio,

disguised in masks, decide to go in

pursuit of Rosaline.

Scene 4The Ballroom

Romeo and his friends arrive at the height

of the festivities. The guests watch Juliet

dance. Mercutio, seeing that Romeo is

entranced by her, dances to distract

attention from him. Tybalt recognises

Romeo and orders him to leave, but Lord

Capulet intervenes and welcomes him

as a guest in his house.

Scene 5Outside the Capulets’ House

As the guests leave the ball, Lord Capulet

restrains Tybalt from pursuing Romeo.

Scene 6Juliet’s balcony

Unable to sleep, Juliet comes out on

to her balcony and is thinking of Romeo,

when suddenly he appears in the garden.

They confess their love for each other.

INTERVAL

Act 2

Scene 1The Market Place

Romeo can think only of Juliet, and, as

a wedding procession passes, he dreams

of the day when he will marry her. In the

meantime, Juliet’s nurse pushes her way

through the crowds in search of Romeo

to give him a letter from Juliet. He reads

that Juliet has consented to be his wife.

Scene 0The Chapel

The lovers are secretly married by Friar

Lawrence, who hopes that their union

will end the strife between the Montagues

and Capulets.

Scene 0The Market Place

Interrupting the revelry, Tybalt fights with

Mercutio and kills him. Romeo avenges

the death of his friend and is exiled.

INTERVAL

Act 3

Scene 1The Bedroom

At dawn next morning, the household is

stirring and Romeo must go. He embraces

Juliet and leaves as her parents enter

with Paris. Juliet refuses to marry Paris

and, hurt by her rebuff, he leaves. Juliet’s

parents are angry and threaten to disown

her. Juliet rushes to see Friar Lawrence.

Did

my

hear

t lov

e ti

ll n

ow?

fors

wea

r it

, sig

ht!

For I ne’er saw

true beauty till this n

ight

Scene 0The Chapel

Juliet falls at the Friar’s feet and begs for

his help. He gives her a phial of sleeping

potion which will make her fall into a

deathlike sleep. Her parents, believing

her to be dead, will bury her in the family

tomb. Meanwhile Romeo, warned by Friar

Lawrence, will return under cover of

darkness and take her away from Verona.

Scene 0The Bedroom

That evening, Juliet agrees to marry

Paris; but next morning when her parents

arrive with him they find her apparently

lifeless on the bed.

Scene 4The Capulet Family Crypt

Romeo, who has not received the Friar’s

message, returns to Verona, stunned

by grief at the news of Juliet’s death.

Disguised as a monk, he enters the crypt,

and finding Paris by Juliet’s body, kills

him. Believing Juliet to be dead, Romeo

drinks a phial of poison. Juliet awakes

and, finding Romeo dead, stabs herself.

CHARACTERS

Montagues

Romeo Son of Lord

and Lady Montague

Mercutio Close friend

of Romeo

Benvolio Romeo’s Cousin

Lord Montague Romeo’s Father

Lady Montague Romeo’s Mother

Capulets

Juliet Daughter of Lord

and Lady Capulet

Tybalt Juliet’s Cousin

Lord Capulet Juliet’s Father

and Tybalt’s Cousin

Lady Capulet Juliet’s Mother

Rosaline Juliet’s Cousin

Paris A nobleman who

wishes to marry Juliet

Escalus Ruler of the Italian

city, Verona

Friar Lawrence Priest

THE STORY THE STORY

Queensland Ballet Artists. Romeo & Juliet 2014

Photography David Kelly

00

06

Li Cunxin AO

ARTISTIC DIRECTOR

Par

tin

g is

suc

h sw

eet s

orro

wT

hat I shall say goodn

ight till it be m

orrowTHE CREATIVES

Sir Kenneth MacMillan CHOREOGRAPHER

THE CREATIVES

One of the most innovative choreographers of the

00th century, Sir Kenneth MacMillan created more than

60 ballets during a career of remarkable creativity. His

genius was in his ability to keep faith with his classical

foundation while marrying it to a strong theatricality

and deep emotional sensibility.

He literally revolutionised the language of ballet into

a powerful mirror of humanity. Born in Scotland in 1929,

MacMillan secured a scholarship to the Sadler’s Wells School

and in 1946, joined the Sadler’s Wells Theatre Ballet. Soon

after, he moved to the larger Sadler’s Wells company, based

at Covent Garden. Turning his hand to choreography, his first

ballet, Somnambulism, was performed on 1 February, 1953. The

following year, Ninette de Valois commissioned a new work from

him. Danses Concertantes immediately established MacMillan

as a choreographer of note. During a period of intense creativity,

he choreographed many works, including Noctambules,

Solitaire, Winter’s Eve and The Invitation. MacMillan’s definitive

production of Romeo & Juliet was commissioned by Sir

Frederick Ashton for the Royal Ballet, opening to rapturous

acclaim at Covent Garden on 9 February, 1965.

In 1966, MacMillan was invited to direct the ballet

company at Deutsche Oper in Berlin, where he staged his

own productions of The Sleeping Beauty and Swan Lake and

created the one-act ballet Anastasia (subsequently becoming

part of a full-length work). He assumed the directorship of the

Royal Ballet in 1970 and continued to choreograph, creating

Manon and Elite Syncopations. In 1976, MacMillan made

Requiem for Stuttgart Ballet and in 1978 created My Brother,

My Sisters. Mayerling was first produced at Covent Garden

on 14 February, 1978 and received a triumphant American

premiere in the same year. Later works included The Prince

of the Pagodas, Winter Dreams and Gloria, a lament for the

generation that perished in World War I. MacMillan created

his fifth full-length ballet, Isadora, in 1981. Kenneth MacMillan

was knighted in 1983 and in 1984, while remaining chief

choreographer of the Royal Ballet, he became Associate

Director of American Ballet Theatre for five years. There, he

staged two new works, Wild Boy and Requiem. Sir Kenneth

MacMIllan died in London in October, 1992 at the age of 62.

Li Cunxin ao has had a long and diverse career as an

internationally acclaimed dancer. He was appointed as

Queensland Ballet’s fifth Artistic Director in July 0010.

At the age of eleven, Li was selected by Madame Mao’s

cultural advisors to attend the Beijing Dance Academy. In 1979

he joined Houston Ballet as an exchange student and went on

to achieve the rank of Principal in 1982.

Amongst many awards and accolades, Li won two silver

and one bronze medal at three international ballet competitions,

and two Princess Grace Awards.

He moved to Melbourne in 1995 with his wife, dancer

Mary McKendry, to join The Australian Ballet as a Principal

Artist. Li retired from dancing in 1999 at the age of 38, but

maintained his strong ties to the ballet community.

Following his performing career, Li worked in the finance

industry as a senior manager at Bell Potter, one of the largest

stockbroking firms in Australia. Until his appointment as the

Artistic Director of Queensland Ballet, Li sat on the board of

The Australian Ballet from 2005 and the Bionics Institute.

In 2003 Li published his international best-selling

autobiography, Mao’s Last Dancer, which has received

numerous awards and was adapted as a feature film in 2009.

Li was Queensland’s Australian of the Year in 2014.

Li received an Order of Australia (AO) in the Queens

Birthday Honours List 2019 for his distinguished service to the

performing arts, particularly to ballet, as a dancer and as an

Artistic Director.

Julie LincolnSTAGER

English-born Julie Lincoln won a scholarship to

the Royal Academy of Dance before entering the Royal

Ballet School, where she won the Adeline Genée Silver

Medal. She then joined the Royal Ballet Touring Company,

transferring to the Royal Ballet at Covent Garden in 1900.

Her repertoire included leading roles in Coppélia, Les

Patineurs, Les Sylphides, Giselle and Pineapple Poll.

From 1985 to 1995, Julie was Ballet Mistress to the Royal

Ballet School, working closely with leading choreographers,

including Dame Ninette de Valois, Sir Frederick Ashton and

Sir Kenneth MacMillan. She has subsequently pursued an

international freelance career staging their works. She has

also been awarded Associateship of the Benesh Institute.

Of the MacMillan repertoire, Julie has staged The Rite

of Spring, Mayerling, Elite Syncopations, Concerto, Isadora,

The Sleeping Beauty, Manon, The Invitation, Solitaire, Soirées

Musicales and Romeo & Juliet. She has worked with many

companies, including the Royal Ballet, English National

Ballet, Scottish Ballet, Vienna State Opera, La Scala —

Milan, Hungarian State Ballet, Stanislavski Music Theatre —

Moscow, Royal Swedish Ballet, American Ballet Theatre,

National Ballet of Canada, New National Theatre —

Tokyo, Kobayashi Ballet Theatre — Tokyo, Universal Ballet —

Seoul, The Australian Ballet and Royal New Zealand Ballet.

Gary HarrisFIGHT DIRECTOR AND STAGER

London-born Gary Harris trained at the Royal

Ballet School, then joined the London Festival Ballet

(now English National Ballet) in 1908 and was one of

the company’s leading soloists.

He left in 1985 to pursue a freelance dance career,

performing in West End shows, including On Your Toes,

La Cage aux Folles and Phantom of the Opera.

Gary has worked internationally as a dancer, teacher,

répétiteur and designer. In 1991, he joined the Royal Ballet as

notator and répétiteur, working with choreographers such as

William Forsythe and Sir Kenneth MacMillan and re-staging

the works of Sir Fredrick Ashton.

Gary was Associate Artistic Director of Hong Kong Ballet

and then Artistic Director of Royal New Zealand Ballet from

2001 — 2010, where he re-staged Swan Lake, Paquita, Coppélia

and Giselle, and mounted new productions of The Nutcracker

and Don Quixote. Notable design commissions include The

Sleeping Beauty and Raymonda for National Ballet of China,

Christopher Hampson’s Double Concerto for English National

Ballet and Saltarello, Esquisses and The Sleeping Beauty for

Royal New Zealand Ballet. Gary continues to re-stage the

works of Kenneth MacMillan.

09

08

THE CREATIVES THE CREATIVESO

Rom

eo, R

omeo

Wherefore art thou R

omeo?

Leanne Benjamin was born in Rockhampton,

Australia and began dancing at the age of three.

At 16 she moved to London to train at The Royal

Ballet School and while at the School won the Adeline

Genée gold medal, the Prix de Lausanne and at

the age of 18 performed Giselle at the Royal Ballet

School’s performance at The Royal Opera House.

In 1983 Leanne joined Sadler’s Wells Royal Ballet and was

promoted to principal in 1987; the following year she joined

London Festival Ballet as a principal and in 1990, the Deutsche

Oper Ballet in Berlin. It was there that Kenneth MacMillan asked

her to join the Royal Ballet and in 1992 she joined as a Soloist

and promoted to Principal within the year. Benjamin’s wide

repertory included most of the Classical and Neo-Classical

repertoire, and she created new roles for choreographers

including, Wayne McGregor, Alexei Ratmansky, Christopher

Wheeldon and Twyla Tharp. She was one of the last dancers

of The Royal Ballet to work with Ninette de Valois, Frederick

Ashton and Kenneth MacMillan. In both 2004 and 2009, she

was recognised as Best Female Dancer in the National Dance

Awards as determined by the prestigious Critic's Circle.

Benjamin retired at the end of the 2012/13 Season,

after 20 years as a Principal with The Royal Ballet and in

2013 she was awarded the De Valois Award for Outstanding

Achievement in Dance. In 2005 Benjamin received the OBE

in recognition of her services to dance and in 2015 she was

appointed a Member of the Order of Australia. In December

2014 Ms Benjamin was awarded the degree of Honorary

Doctor of Performing Arts by Central Queensland University

and in March 2016 Leanne was appointed a Governor of

The Royal Ballet Companies. Benjamin is a Patron of the

Tait Memorial Trust where an annual award is given in

her name to support young Australian Dancers to train in

the UK. Presently, Ms Benjamin works with a number of

international ballet companies as a coach to their principals,

She has coached for American Ballet Theatre at the MET,

Mayerling at Houston Ballet, and most recently, the principal

dancers at the Royal Ballet for their production of Giselle,

Romeo and Juliet and Mayerling. Ms Benjamin also acts

as a coach and mentor to the Royal Ballet Apprentices,

and coaches young aspiring pre-professionals dancers.

Leanne Benjamin OBE AM

PRINCIPAL COACH

Cameron GoergLIGHTING RECREATOR

Cameron Goerg has 18 years experience in technical

development and lighting design. He is currently

Technical Director for Queensland Ballet whilst also

taking on freelance lighting design commissions.

He has designed lighting most recently for Little

Green Road To Fairyland, Synergy 2019 — Magnetic Fields,

“The Cloud of Unknowing, Never, Stop Falling In Love,

Synergy 2018 — Lunar, Nocturne, Bespoke 2017 & 2018,

Glass Concerto, and many new works in Queensland Ballet’s

Dance Dialogues seasons. Cameron has recreated lighting

for Queensland Ballet’s productions of The Nutcracker from

2014 to 2018, Ghost Dances, The Firebird, Coppelia, Peter

Pan, Cinderella and Giselle and West Australian Ballet’s

La Bayadère. Other lighting designs include Queensland

Symphony Orchestra’s Carmen in Concert, Shake & Stir’s

Shakespeare Festival’s Macbeth and A Midsummer Night’s

Dream and Collusion Music’s Desirelines. During his time

with Queensland Ballet, Cameron has been involved in

the technical development of all productions including La

Bayadère, Peter Pan, Romeo & Juliet and Strictly Gershwin.

Paul AndrewsSET & COSTUME DESIGNER

Paul Andrews studied stage design at

Wimbledon School of Art and Design. After seeing

his degree show, Kenneth MacMillan asked him to

design the set and costumes for Romeo & Juliet.

He subsequently designed West Side Story for Irina Brown

(Cambridge Festival and on tour), All’s Well That Ends Well and

The Rivals (Theatr Clwyd — Wales), Father’s Day, The Taming

of the Shrew, Gypsy, The Merchant of Venice, Mail Order Bride,

The Sound of Music, King Lear, Call in the Night (West Yorkshire

Playhouse), Shostakovich’s Cheryomushki (Pimlico Opera/

Lyric Theatre, Hammersmith), Blood Libel (Norwich Playhouse),

Clocks and Whistles (Bush Theatre), A Midsummer Night’s

Dream (Southern Shakespeare Festival — Florida), A Doll’s

House (Birmingham Rep), Swan Lake (Norway Opera), Poor

Super Man (Manchester Royal Exchange), Grace Note and Hurly

Burly (Old Vic and West End), and Words Apart (Royal Ballet’s

Dance Bites). He also worked on the films Robin Hood, Prince

of Thieves (as Wardrobe Assistant and buyer) and Judge Dredd

(in conceptual costume design). Paul died in December 1997.

John B ReadLIGHTING DESIGNER

John B Read was consultant lighting designer

to the Royal Opera, the Royal Ballet and Birmingham

Royal Ballet from 1990 to 0005. He is largely

responsible for establishing lighting as an integral

part of dance presentation.

He has worked with many major choreographers,

notably with Sir Frederick Ashton, Sir Kenneth MacMillan,

Anthony Tudor, Glen Tetley, Jerome Robbins, Rudolf Nureyev,

Anthony Dowell, David Bintley, Natalia Makarova, Ronald

Hynd, Christopher Bruce, Wayne Eagling, Ulysses Dove and

Ashley Page. Works for the Royal Ballet Companies include

Swan Lake, The Nutcracker, The Snow Queen, Mayerling,

Anastasia, Frankenstein, La Bayadère and The Prince of the

Pagodas. John B Read works regularly with ballet companies

throughout Europe, North America, Australia and the Far

East, including the Stanislavski Music Theatre in Moscow.

He has lit frequently-revived productions for Rambert

Dance, London Contemporary Dance Theatre, London City

Ballet, English National/London Festival Ballet and Scottish

Ballet, and he designs regularly for opera and theatre.

10

Alondra de la ParraGUEST CONDUCTOR

THE CREATIVESR

omeo

& J

ulie

t

Alondra de la Parra has gained widespread attention

for her spellbinding and vibrant performances and her

commitment to Latin American composers. She has

conducted over 100 of the world's most prestigious orchestras

including Orchestre de Paris, London Philharmonic

Orchestra, Tonhalle-Orchester Zürich, Bamberg Symphony,

Swedish Radio Symphony Orchestra, São Paulo Symphony

Orchestra, Berlin Radio Symphony Orchestra and

Orchestra dell'Accademia Nazionale di Santa Cecilia.

In 2017, she began her term as Music Director of the

Queensland Symphony Orchestra,making her the first ever Music

Director of an Australian orchestra. She is anofficial Cultural

Ambassador of Mexico, where she saw platinum-level sales

ofher first album "Mi Alma Mexicana" and, in March 2017, was

named brandambassador for Mercedes-Benz Mexico. In July

2017, Deutsche Welle created ‘Musica Maestra’, a new classical

format featuring Alondra de la Parra as both protagonist and

reporter in a series of several web videos and television shows.

In the 2019/20 season, she will return to Tonhalle-

Orchester Zürich, to Staatsoper Berlin for the resumption of

Yuval Sharon’s production of Mozart’s Zauberflöte and to Royal

Opera House in June 2020. She will conduct Tchaikovsky’s

Romeo and Juliet with Queensland Ballet in Brisbane, perform

a concert at Komische Oper Berlin with cellist Jan Vogler and

return to the Deutsche Kammerphilharmonie Bremen, which

she has been closely working with for several years now.

Alondra de la Parra will also celebrate debuts with the

Vienna Radio Symphony Orchestra at Musikverein Wien, Orchestre

Philharmonique du Luxembourg with Rolando Villazón, Frankfurt

Radio Symphony and Staatskapelle Dresden for the 2019 Christmas

Concert at Semperoper Dresden by the German TV channel ZDF.

Engagements of the last seasons include her subscription

debut with the NHK Symphony, her debut at Beethovenfest

Bonn, her celebrated return to Orchestre de Paris which was

broadcasted live by German-French TV channel Arte, appearances

with the Verbier Festival Orchestra, BBC Philharmonic, BBC

National Orchestra of Wales and a live orchestral performance

of the film West Side Story at Mexico's Auditorio Nacional as

well as the world premiere of the new production T.H.A.M.O.S

at Mozartwoche Salzburg, together with Camerata Salzburg

and the theatre collective La Fura dels Baus around Carlus

Padrissa, and her debut at the Festival de Pâques in Aix-en-Provence.

Supportingexcellence

Soloist Mia Heathcote & Company Artist Rian Thompson

Photography David Kelly

Sealy PosturepedicMajor Partner of Queensland Ballet

Nigel Gaynor MUSIC DIRECTOR AND PRINCIPAL CONDUCTOR

Nigel Gaynor is a highly acclaimed conductor of

ballet, and has conducted over 100 ballets during a

career spanning 05 years. Born in Sydney, he worked with

The Australian Ballet for 16 years, before relocating to

the United Kingdom in 1998. While living in England he

worked with The Royal Ballet, English National Ballet,

and Northern Ballet.

Some of his career highlights include working with Rudolf

Nureyev, Sir Robert Helpmann and Jiří Kylián; conducting The

Australian Ballet’s Red Earth on live television, and collaborating

on new ballets with choreographers Graeme Murphy, Wayne

McGregor, Greg Horsman and Liam Scarlett. In 2004, Nigel made

his debut in Royal Albert Hall conducting Derek Deane’s Swan Lake

with English National Ballet. Orchestras he has conducted include

The Royal Sinfonia, Tokyo Philharmonic, Shanghai Philharmonic,

The Siberian State Symphony Orchestra, Hong Kong Sinfonia,

New Zealand Symphony, The Tasmanian Symphony, Queensland

Symphony, West Australian Symphony, Adelaide Symphony,

Orchestra Victoria and The Australian Opera and Ballet Orchestra.

In 2011, Nigel was engaged by Royal New Zealand Ballet

(RNZB) to arrange and conduct Greg Horsman’s The Sleeping

Beauty. In 2013, Ethan Stiefel appointed Nigel Music Director of

RNZB. For A Midsummer Night’s Dream, he created a new score

and arrangements to weave together the vision of choreographer

Liam Scarlett with Mendelssohn’s dazzling overture, incidental

music, symphonies and piano music. In 2014, Li Cunxin invited

Nigel to guest in Queensland Ballet’s season of Romeo & Juliet,

in which he conducted the performances of Carlos Acosta. More

recently he re-orchestrated La Bayadère for Greg Horsman’s new

production at Queensland Ballet. Nigel joined Queensland Ballet

as Music Director and Principal Conductor in 2016.

10

10

PRINCIPAL ARTISTS PRINCIPAL ARTISTSD

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Victor Estévez

With numerous awards through

his time at the Cuban National Ballet

school, Victor was considered one

of the stars of a new generation of

Cuban dancers, joining the National

Ballet of Cuba in 0011 following a

promotion to Premier Dancer in 0015.

His repertoire includes traditional-

classical principal roles in ballets such as

Giselle, Don Quixote, Coppelia, Swan Lake,

La Bayadère, The Nutcracker and some

contemporary work by highly-acclaimed

choreographers of today including Liam

Scarlett and Carlos Acosta. Victor has

toured extensively throughout Europe,

South America, Africa and Asia. During his

time with the National Ballet of Cuba he

performed in the 3rd International Ballet

Gala in Buenos Aires in 2013, Gala of the

9th Ballet Festival of Cali in 2014, Ballet Star

Gala of the 3rd Beijing International Ballet

and Choreography Competition in 2015

and Dortmund Ballet Gala in 2018. Victor

made his debut with Queensland Ballet

in 2015 as Principal Guest Artist in Greg

Horsman’s Sleeping Beauty before joining

the company as Principal Artist in 2016.

Lucy Green

Lucy was born in Sydney and

graduated from the Victorian College

of the Arts Secondary School before

joining the Royal New Zealand Ballet

(RNZB) in 0010.

Lucy performed many principal and

lead roles during her time with RNZB

including in Cinderella, Giselle and Swan

Lake. She performed internationally with

RNZB including tours to China, US, UK and

Italy. In 2015, Lucy was invited by Scotland

Ballet to perform as a Guest Principal

Artist in RNZB’s production of Cinderella.

In Queensland Ballet and RNZB’s co-

production of Liam Scarlett’s A Midsummer

Night’s Dream, Lucy danced the role of

Titania and worked with Liam to create

the role of Mustard Seed. Lucy joined

Queensland Ballet as Senior Soloist in 2017,

and was later promoted to Principal Artist

following her performance of Tinkerbell in

Trey McIntyre’s Peter Pan.

Laura Hidalgo

Laura was born in Argentina

and trained at L’Institut

Supérieur d’Art in France.

She is the recipient of numerous

international awards, including the Gold

Medal and Grand Prix at the International

Ballet Festival of Havana, Gold Medal at

the Luxembourg International Competition

and the Best Artist Award at the Varna

International Competition in Bulgaria. Laura

joined the American Ballet Theatre in 2002

and in 2006 she relocated to Europe where

she danced with companies including Het

National Ballet and Staatstheater Nürnberg.

Laura joined the Royal Ballet of Flanders

in 2010 and became Principal Dancer

shortly after joining the company. Laura

is a Guest Principal with the Slovenian

National Ballet and joined Queensland

Ballet as a Principal Artist in 2015.

Yanela Piñera

Yanela completed her ballet

training at the Cuba National School

of Ballet and received numerous

awards including a Silver Medal at

the International Ballet Competition

Varna, Bulgaria and Gold Medals in

0000 and 0004 at the International

Competition in Havana, and the Best

Artist Award in 0004.

She joined the Ballet Nacional de

Cuba in 2005, was promoted to Principal

Dancer in 2009 and to Premier Dancer in

2011 and has performed at international

ballet festivals and galas including the

2004 Dance Festival of Córdoba in Mexico;

Galas of the Central School of Ballet in

London; the 2011 Viva Alicia at the Bolshoi,

Moscow and the 2014 International Ballet

Gala in Germany. Her repertoire includes

classical and contemporary ballets by

Cuban and international choreographers.

Yanela joined Queensland Ballet as a Guest

International Principal in 2015 and became

a member of the Company in 2016. In

2017 she participated in the International

Ballet Gala in Jakarta, Indonesia and

was nominated for the Australian Dance

Award for Outstanding Performance by

a Female Dancer for her performance in

Greg Horsman’s Glass Concerto (2017).

Camilo Ramos

Camilo began his ballet training

at the Elementary School of Balet Alejo

Carpentier, continuing his training at

the Cuba National School of Ballet.

He received several awards of note

during his training. Camilo joined the Ballet

Nacional de Cuba in 2008, was promoted

to Soloist in 2010 and Principal in 2011.

He has performed in several countries

including Latin America, Canada, the

USA, Italy and the United Kingdom. His

repertoire includes soloist and principal

roles in classical and contemporary ballets.

Camilo joined Queensland Ballet as a

Soloist in 2015 and became Senior Soloist

in 2017, later being promoted to Principal

Artist following his performance of the title

role in Trey McIntyre’s Peter Pan.

15

14

Par

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orrowSENIOR SOLOISTS SOLOISTS

Alexander Idaszak

Born in Sydney, Alexander undertook his ballet

training at the McDonald College of Performing Arts

School, taught by Josephine Jason and Alan Cross.

Alexander then completed his formal ballet training at

The Australian Ballet School. He joined Queensland Ballet

as a Company Dancer in January 2013, was then promoted

to Demi-Soloist in 2016 and became Soloist in 2017. In 2014,

Alexander danced with the Royal New Zealand Ballet (RNZB)

before returning to Queensland Ballet in 2015. In 2016 he

was awarded Queensland Ballet’s Khitercs Hirai Foundation

scholarship for professional development travel. In 2017,

Alexander was invited by the Shanghai Ballet to perform

the role of Prince Siegfried alongside Iana Salenko in Swan

Lake in Antwerp, Belgium. Alexander’s repertoire highlights

include the Prince in Ben Stevenson’s The Nutcracker,

Oberon in Liam Scarlett’s A Midsummer Night’s Dream,

Albrecht in Giselle and Ben Stevenson’s Three Preludes

as well as a wide range of contemporary works. Following

his performance of Vicomte de Valmont in Dangerous

Liaisons (2019) Alex was promoted to Senior Soloist.

Kohei Iwamoto

Born in Japan, Kohei began his training at age 11

at Sadamathu and Hamada Ballet Studio where he

received the Senior Second Prize at the Youth America

Grand Prix competition, Japan.

Kohei continued his training at The Australian Ballet

School and upon graduating, joined the Royal New Zealand

Ballet in 2010. He has toured both nationally and internationally

to China, Europe and America, and performed notable roles

including Prince Siegfried in Swan Lake, Albrecht in Giselle,

Puck in A Midsummer Night's Dream and Romeo in Romeo &

Juliet. Continuing his career, Kohei joined Queensland Ballet

in 2018 and was promoted to Senior Soloist following his

performance as Solor in La Bayadère.

Joel Woellner

Joel was born in Sydney and had his early training

at Ettingshausens Dynamic Arts under Jo Ansell and

Kim Traynor.

After competing in the finals of Youth America Grand

Prix 2011, Joel was awarded a full scholarship to the Ben

Stevenson Academy in Houston, Texas as part of the Houston

Ballet ll Company.

A dual prize winner of the Prix de Lausanne, Joel

graduated from the Ben Stevenson Academy with the Best

Dancer award. After representing Houston Ballet at the Jacob’s

Pillow Dance Festival in Massachusetts, Joel joined Houston

Ballet as an Apprentice in 2013. He was promoted to Corps de

Ballet in 2014 and toured extensively with the company, before

joining Queensland Ballet as Company Artist in 2015. Following

his performance as Prince Siegfried in Swan Lake, Joel was

promoted to Soloist in 2017, and then to Senior Soloist in 2018,

following his performance as Solor in La Bayadère.

Vito Bernasconi

Vito Bernasconi began his training at Academy

Ballet under the directorship of Nicholina Kuner.

He graduated from The Australian Ballet School and

immediately joined Queensland Ballet in 0010.

In 2014, he performed Mercutio and Tybalt in Sir Kenneth

Macmillan’s Romeo & Juliet, for which he was nominated for

an Australian Dance Award for Most Outstanding Performance

by a Male Dancer. A second nomination of the same award

followed in 2016 for Tico Tico in Paul Taylor’s Company B. He

has performed numerous Principal roles in both classical and

contemporary productions including Prince in The Nutcracker,

Colas in La Fille Mal Gardée, The American, The Man I Love

and Summertime in Derek Deane’s Strictly Gershwin, Ghost and

Husband roles in Ghost Dances and Koschei in The Firebird.

Many new works have been created on him by choreographers

such as Ma Cong, Gabrielle Nankerville, Stephanie Lake and

Jack Lister. He has also choreographed 2 Pas De Deux’s;

La Mente and Seguì. In 2017, Vito was promoted to Soloist.

Mia Heathcote

Mia was born in Melbourne and began her ballet

training at the age of four, with Anna Veretennikova,

and then Jane Moore.

Mia joined The Australian Ballet School in 2010 and during

her time there she received an Advanced Diploma of Dance,

The Graeme Murphy Award for Excellence in contemporary

dance and the Award for Excellence in classical ballet. Mia joined

Queensland Ballet as a Company Dancer in January 2014 and has

danced featured roles in many productions, including Titania in

A Midsummer Night’s Dream and Odette in Swan Lake. Mia was

a dual recipient of the Energex Rachael Walsh Artistic Award 2015

and received the Khitercs Hirai International Scholarship in 2016.

In 2017, Mia was promoted to Soloist following her performance

of Wendy in Trey McIntyre’s Peter Pan.

Lina Kim

Lina Kim-Wheatstone was born in South Korea and

started ballet when she was four years old.

Her family moved to Australia when she was 11 where she

trained under Janice Heale before graduating from Queensland

Dance School of Excellence with the Most Outstanding Dancer

award. Lina was named Artist to Watch in the 2014 Dance

Australia Critics Survey. From 2008 Lina trained with the

company and joined as a Trainee Dancer in 2010. In 2011 she

became a Company Dancer, was promoted to Demi-Soloist in

June 2016 and became Soloist in 2017. Lina has toured both

nationally and internationally with the company, including China

and London. She was invited to perform at the Dance Salad

Festival in Houston in 2015. Lina was a recipient of the Khitercs

Hirai International Study Tour Scholarship in 2015.

10

16

O R

omeo

, Rom

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herefore art thou Rom

eo?SOLOISTS COMPANY ARTISTS

Pol Andrés Thió D’Arcy Brazier Mali Comlekci Luke Dimattina Zhi Fang Talia Fidra

Josephine Frick Liam Geck Chiara Gonzalez Serena Green Tamara Hanton Alyssa Kelty

Daniel Kempson Dylan Lackey Jack Lister Tonia Looker Vanessa Morelli Eriko Nakajima

Libby-Rose Niederer Suguru Otsuka Samuel Packer David Power Patricio Revé Lou Spichtig

Isabella Swietlicki Ari Thompson Rian Thompson Laura Tosar Ze Wu Sophie Zoricic

Georgia Swan

Georgia was born in Ballarat, Victoria and trained

with Carole Oliver School of Ballet, Victorian College of

the Arts Secondary School and Queensland Ballet Pre-

Professional Program.

Georgia has danced featured roles in several productions

including Snow Queen and Lead Flower, and Sugar Plum

Fairy in Ben Stevenson’s The Nutcracker, Odette/Odile in

Ben Stevenson’s Swan Lake, Principal in Greg Horsman’s

Verdi Variations, Soloist in Derek Deane’s Strictly Gershwin

and Edith in Greg Horsman’s La Bayadère. Georgia was a

selected candidate for the 2014 Prix de Lausanne and won

the Cecchetti Gold Medal in Victoria in 2012 and the inaugural

Valrene Tweedie Ballet Scholarship in 2013. In 2015, she

returned to Prix de Lausanne to perform in Greg Horsman’s

Glass Concerto. Georgia joined Queensland Ballet as a Jette

Parker Young Artist in 2015 and Company Artist in 2016, then

was promoted to Soloist in 2018.

Neneka Yoshida

Neneka was born in Kanazawa, Japan and trained

with Keiko Miyanishi before moving to Paris studying

with Dominique Khalfouni and Victor Ullate in Spain.

She attended the Conservatoire National Supérieur de

Musique et de Danse de Paris and was taught by Claude

de Vulpian and Celine Talon.

Neneka joined Queensland Ballet in 2014 as a Jette Parker

Young Artist, before being promoted to Company Artist in 2015,

and Soloist in 2018 after her performance as Nikiya in Greg

Horman’s La Bayadère. Neneka has also danced featured roles

in several productions including Clara and Sugar Plum Fairy

in Ben Stevensen’s The Nutcracker and Odile in Ben

Stevenson’s Swan Lake.

Neneka was awarded the Gold Medal of Concours

International de Danse de Biarritz and the Gold Medal of

Concours International Chausson d’Or in 2012. She was also

a finalist at the Prix de Lausanne in 2013.

19

18

Steven Heathcote AM

Born in Western Australia, Steven Heathcote began

ballet lessons at the age of ten and was accepted into

The Australian Ballet School at 16. He was invited to join

The Australian Ballet in 1980, where he rapidly rose to

Principal Artist, a position he sustained for twenty years.

Steven has performed as Guest Artist with some of the

world’s major ballet companies, including American Ballet

Theatre, Birmingham Royal Ballet at Covent Garden, the

Royal Danish Ballet and the Mariinski ballet in St Petersburg.

In 1992, Steven was awarded an Order of Australia for

Services to Dance. After retiring from the stage in 2007

as The Australian Ballet’s longest-serving Principal Artist,

Steven appeared in the 2009 feature film, Mao’s Last Dancer.

In 2010, he conceived and directed a new production of

Handel’s Julius Caesar for Victorian Opera, and in 2012, he

was choreographer and assistant director to John Bell for that

company’s production of The Rake’s Progress. Steven again

assisted John Bell for Opera Australia’s new production of

Tosca in 2013. He is also engaged in coaching for dancers and

is currently working with dancers of The Australian Ballet.

Rom

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Jul

iet

Greatest love story of all tim

eCHARACTER ARTISTSCOMPANY APPRENTICES

JETTE PARKER YOUNG ARTISTS

Matthew Lawrence

New Zealand born Matthew Lawrence began his

dance career with The Australian Ballet, where in 0004 he

rose to the rank of Principal Dancer before relocating to

Birmingham Royal Ballet as Principal Dancer in 0000. In

0010, he returned to Australia under the draw of working

with Queensland Ballet Artistic Director Li Cunxin.

During his 18-year career he performed the canon of

classical repertoire alongside modern classics, and was coached

by luminaries such as Anthony Dowell, Peter Wright, David

Bintley and Patrice Bart. Since retiring in 2014, Matthew has

taught extensively in a variety of settings, from the Australian

Ballet and Queensland University of Technology (QUT), to

QB’s Dance for Parkinson’s Program and as ambassador for the

Royal Academy of Dance’s Project B. Creatively Matthew has

choreographed works for Birmingham Royal Ballet, Queensland

Ballet, QUT and other leading dance institutions in Australia

and abroad. He is also a Character Artist with QB, columnist

for Dance Australia and panellist for the Ausdance Awards.

Mary Li

Mary Li (formerly Mary McKendry) began her dance

training in Australia and continued at the Royal Ballet

School in London.

She joined London Festival Ballet (English National

Ballet) in 1977 and was promoted to Principal Dancer in 1981.

She joined Houston Ballet in 1985. During her performing

career, Mary danced principal roles in all the major classical

ballets, as well as leading roles in contemporary ballets.

Many new ballets were created on her. She has worked with

legendary teachers, choreographers, artistic directors and

artists, including Rudolf Nureyev, Glen Tetley, Dame Margot

Fonteyn and many others. Mary and her husband Li Cunxin

have danced together all over the world.

Since retiring from dancing in 1992, Mary has been invited

to teach and coach in many international ballet companies.

She was a teacher and coach for The Australian Ballet for 10

years and joined Queensland Ballet as Ballet Mistress in 2013.

Shaun Curtis Noah Dunlop

JETTE PARKER YOUNG ARTISTS

PRE PROFES SIONAL PROGRAM

Kieren Bofinger

Dayna Booth

Annika Bounkeua

Brendan Brown

William Cheung

Jacob Cuddon

Dani Gibson

Megan Hansen

Callum Hendry-Hodson

Lucy Hogan

Caitlin Jonker

Callum Mackie

Charlie Morton

Katie Shawsmith

Kayla Van den Bogert

Maggie Bryan Lucy Christodoulou Oscar Delbao Jamie Delmonte Clayton Forsyth Renee Freeman

Kaho Kato Bronte Kielly-Coleman John Paul Lowe Edward Pope Charlie Slater Hayley Thompson

SENIOR PROGRAM

Max Aitken

Jaxon Boughton

Sarah Eccleston

Henriette Hartl

Edison Manuel

Joshua Ostermann

Rowan Schratzberger

Phoebe Walsh

AS SOCIATE PROGRAM

Charlie Dunn

Max Hering

Thomas Reardon

Cooper Tate

Sol Ward

Xavier Xue

CHAPERONE Sheilagh Gaddes

The Jette Parker Young Artist Program is

generously supported by Oak Foundation

together with Brett & Maria Clark,

Frazer Family Foundation, Patricia Macdonald

Memorial Foundation, Catriona & Simon

Mordant am, C P Morris, Liz & Graeme Wikman.

EXTRA COMPANY ARTISTS

Jayden Grogan

Paige Rochester

01

00

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ightCHARACTER ARTISTS CHARACTER ARTISTS

Christian Tátchev

Queensland Ballet Academy Director, Christian

Tátchev, trained at the National School of Choreography

in Sofia, Bulgaria. Performing his first leading roles

shortly after commencing his professional career at age

16, Christian was promoted to Principal Artist at 01. His

repertoire includes principal roles in the major classical

repertoire as well as in numerous works by celebrated

choreographers of modern times.

During his dancing career, Christian worked with The

Sofia National Opera and Ballet, Bulgarian contemporary dance

company Ballet Arabesque, PACT Ballet (Johannesburg), Cape

Town City Ballet and the South African Ballet Theatre, where in

addition being a Principal Artist, he was engaged as a Répétiteur.

Christian joined Queensland Ballet (QB), Australia,

after participating in the Company’s 2008 International

Gala. Following his retirement from the stage in 2011, he was

appointed QB’s Ballet Master. He took up the position of

Director of Training in 2013 and became the Queensland Ballet

Academy Director in 2016. Christian continues to perform with

the Company as a Character Artist and frequently adjudicates

for various national and international ballet competitions.

Zenia Tátcheva

Zenia Tátcheva received her ballet training at

the University of Cape Town Ballet School and enjoyed

a successful career with CAPAB, PACT Ballet and the

South African Ballet Theater. She joined Queensland

Ballet in 0008 after performing as a Guest Artist in

the company’s International Gala that year, retiring

from the stage in 0010.

With the above companies Zenia has performed principal

roles in most major classical ballets such as Swan Lake,

The Nutcracker, Cinderella, Giselle, The Sleeping Beauty,

Paquita, Chopiniana, La Sylphide, Napoli, Don Quixote,

Romeo & Juliet and Papillon, as well as works by renowned

choreographers of modern times.

Parallel to her dancing career, Zenia has been engaged

as a teacher by Mzanzi Dance Company, the National School

of the Arts and the South African Ballet Theatre Academy

in Johannesburg.

After her retirement from stage, Zenia took the position

of classical coach with the Queensland Ballet Academy where

she is currently involved in the training and development of

students across Senior Program and Pre-Professional levels.

She has served as an adjudicator for various national and

international ballet competitions.

Janette Mulligan

Janette graduated as Dux of the Australian Ballet

School before accepting a contract with English National

Ballet. She was promoted and performed as a Senior

Principal for 10 years.

Performing internationally, Janette’s extensive repertoire

included performing the great major ballets with such partners

as Rudolf Nureyev, Peter Schaufuss, Fernando Bujones,

Patrick Armand, Keven McKenzie, Matz Skoog, Ben Van

Cauwenberg, Martin James, Alexander Sombart, Martyn

Fleming and Ashley Wheater.

Janette won critical acclaim for her role in Ben Stevenson’s

Three Preludes and Christopher Bruce’s Land. She performed

the lead roles in ballets created by Alvin Ailey, Glen Tetley,

Harold Lander, Ronald Hynd, George Balanchine, Roland Petit,

John Cranko and John Neumier. Janette has also worked with

Dame Margot Fonteyn, Sir Kenneth McMillan, Dame Alicia

Markova, Natalia Makarova, Graeme Murphy and Ben Stevenson.

On retiring, Janette accepted the role of Ballet Mistress

with the Royal Danish Ballet and guest teacher at the English

National Ballet, Opera du Rhin, Ballet Rambert, Hong Kong

Academy of Performing Arts, The Australian Ballet, Royal New

Zealand Ballet and Sydney Dance Company. Janette joined

Queensland Ballet in 2013 as Ballet Mistress.

Rachael Walsh

Rachael graduated from The Australian Ballet

School and joined Queensland Ballet in 1998. She was

promoted to Principal Dancer in 0000; dancing with

the Company for 10 years.

In addition to performing Principal roles in many classical

and contemporary ballets, including Giselle, Swan Lake, Romeo

& Juliet, The Sleeping Beauty, Nutcracker and Don Quixote,

Rachael has enjoyed the creative process and collaboration

during the making of character-driven dramatic ballets such

as Carmen, A Streetcar Named Desire, The Little Mermaid, and

François Klaus’s, Cloudland. Her signature roles include Carmen,

Juliet and Giselle. In 2014 Rachael staged Nils Christe’s ballet

Short Dialogues for the Flourish program and again in 2015 in

Houston, Texas for the international dance festival, Dance Salad.

Rachael retired from ballet following her performance as Lady

Capulet in Sir Kenneth MacMillan's Romeo & Juliet. In 2016

she donned tap shoes to great acclaim in Derek Dean's Strictly

Gershwin and in 2019 for the role of Madame de Volanges in

Liam Scarlett's Dangerous Liaisons. Rachael continues to work

with the Company in business development and philanthropy, a

Principal character artist and as a mentor for dancers nationwide.

00

00

Rani LutherBALLET MISTRES S & CREATIVE AS SOCIATE

Born in Melbourne, Rani attended the Victorian

College of the Arts Secondary School before beginning

her professional career with Kiel Ballet Company

Germany in 1990, then with world-renowned Netherlands

Dance Theatre 0 and Netherlands Dance Theatre 1.

In 0000 Rani returned home to join The Australian

Ballet Company, then Sydney Dance Company in 0000

and retired from stage as principal with Melbourne

Ballet Company in 0011.

Rani has had the great pleasure of working with

choreographers such as Jiří Kylián, Hans Van Manen, Paul

Lightfoot, Ohad Naharin, William Forsythe, Edward Liang,

Graeme Murphy, Stephan Page and Rafael Bonachela. She

won gold at the Sanlam International Ballet Competition,

South Africa 1993, the outstanding performance award in

the City of Sydney Ballet Scholarship 1994, and received a

nomination for best female dancer in the Green Room Award

2006 for her roles in Relic and Jiri with The Australian Ballet.

Rani’s choreographic creations include works for

NDT Workshop performances 2001/2002, Face the Music

Carriageworks Sydney 2012, Illuminate for MBC 2016, Outside

In for Sydney Dance Company PPY 2017 and Lunar for

Queensland Ballet’s inaugural season of Synergy 2018. Rani

was appointed Ballet Mistress and Creative Associate in 2019.

Par

tin

g is

suc

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eet s

orro

wT

hat I shall say goodn

ight till it be m

orrowARTISTIC STAFF ARTISTIC STAFF

Liam ScarlettARTISTIC AS SOCIATE

English choreographer Liam Scarlett trained at

The Royal Ballet School and danced with The Royal

Ballet, retiring as a dancer in 0010 to focus on his

choreographic career. That year he was appointed

The Royal Ballet’s first Artist in Residence.

His works for The Royal Ballet include Despite and

Vayamos al Diablo (2006), Consolations and Liebestraum

(2009 — nominated for a Critics’ Circle Award), Asphodel

Meadows (2010 — nominated for a South Bank Award and

an Olivier Award, and winner of a Critics’ Circle Award),

Sweet Violets, ‘Diana and Actaeon’ from Metamorphosis:

Titian 2012 (2012), Hansel and Gretel (2013), the Jubilee

pas de deux in celebration of HM The Queen’s Diamond

Jubilee, The Age of Anxiety and Summertime.

In 2018 Liam’s production of Swan Lake premiered at

The Royal Ballet. Works for other companies include Viscera

(2012) and Euphotic (2013) for Miami City Ballet (also

designed by Liam), The Firebird for the Norwegian National

Ballet (2013) and performed by Queensland Ballet (2018),

Hummingbird for the San Francisco Ballet (2014), No Man’s

Land for English National Ballet (2014), With a Chance

of Rain for ABT (2014), Carmen for Norwegian National

Ballet (2015), A Midsummer Night’s Dream co-produced

for Royal New Zealand Ballet and Queensland Ballet (2015),

Fearful Symmetries for the San Francisco Ballet (2016),

Frankenstein co-produced for The Royal Ballet and San

Francisco Ballet (2016) and Dangerous Liaisons (2019) co-

produced for Queensland Ballet and Texas Ballet Theater.

Greg HorsmanCHIEF BALLET MASTER & DIRECTOR OF ARTISTIC OPERATIONS

Greg joined The Australian Ballet in 1980, rising

to Principal Artist in 1980.

During 12 years with the company he performed all

the major classical roles and worked with some of the finest

choreographers of the time. He has been a Guest Principal

with the Mariinsky Ballet and Royal Danish Ballet among

others. In 1994 Greg joined the English National Ballet (ENB)

and in 1998 was appointed Artistic Director of Ballet Central

at London’s Central School of Ballet. In 2001 he joined

Northern Ballet Theatre in Leeds as Ballet Master and in

2003 returned to ENB as Ballet Master and Répétiteur. He

has been a guest teacher at many international companies

and joined Queensland Ballet as Ballet Master in 2013. Greg

has choreographed ballets for Ballet Central, ENB, the Royal

New Zealand Ballet (RNZB) and Queensland Ballet. His

other works for Queensland Ballet include the dazzling Verdi

Variations and Glass Concerto. Greg’s acclaimed production

of Coppélia, was embraced by audiences throughout

Queensland and was also performed by West Australian

Ballet in Perth in 2015. In October of that year, his production

of The Sleeping Beauty, originally choreographed for RNZB,

became Queensland Ballet’s highest-ever selling production

at that time. In 2018, Greg staged and choreographed a world

premiere production of La Bayadère for Queensland Ballet.

Mary LiBALLET MISTRES S & PRINCIPAL RÉPÉTITEURSee page 19

Janette MulliganBALLET MISTRES S & ARTISTIC COORDINATORSee page 20

Matthew Lawrence BALLET MASTERSee page 19

Christian TátchevDIRECTOR OF QUEENSLAND BALLET ACADEMYSee page 20

Nigel Gaynor MUSIC DIRECTOR & PRINCIPAL CONDUCTORSee page 10

05

04

Technical Director Cameron Goerg

Production Stage Manager Shaun O’Rourke

Assistant Stage Manager Heather O’Keeffe

Assistant Stage Manager Ella Gordon

Head Mechanist Dan Villiers

Production Mechanist Damien Richardson

Mechanist Brady Ireland

Head Flyman Don MacKenzie

Head Electrician Scott Chiverton

Production Electrician Josh Skipp

Lighting Board Operator Skye Lilliss

Additional Scenic Art Shaun Caulfield

Head of Wardrobe Noelene Hill

Deputy Head of Wardrobe Lauryn Jackson

Costume Preparation Supervisors Anna Ilic, Erin Krosch

Workroom Coordinator/Costumier Jayne Warrington

Wardrobe Workroom & Zoe GriffithsArt Finishing Coordinator

Costumiers Rebekah Ellis, Vicki Martin,

Frances Pyper, Margie Stafford,

Elizabeth Ball, Michelle Potts,

Jackqueline Parry, Cassiopeia

Fatseas-Lamcombe, Bethany

Cordwell, Emma Shakes, Anna

Handford, Ana Draca, Jade Ashton,

Kylie Landsborough, Benjamin Dutton

Costume Props Marion Hoad

Wig & Makeup Stylist Michael Green

Assistant Wig & Makeup Stylist Bella Townsend, Shannon McKean

Shoe Coordinator Amanda Newman

Performance Wardrobe Manager Erin Krosch

Costume Dressers Zoe Griffiths, Elizabeth Ball,

Bethany Cordwell

Transport Roadpro Event Services/

Russell Austen

Set, props and costumes A Production of the BNS —

Ballet Nacional SODRE — Uruguay

O R

omeo

, Rom

eoW

herefore art thou Rom

eo?

PATRONHis Excellency the Honourable Paul de Jersey ac, Governor of Queensland

BOARD OF DIRECTORS ChairJulieanne AlroeDeputy ChairJustice David ThomasDirectorsDavid CarterPeter GodberPaula McLuskieProf. Gene MoyleAllan Pidgeon amAmanda Talbot

HONORARY LIFE MEMBERSMarlene CollinsPauline CroweLynette Denny amProf. Ashley Goldsworthy aoKevin HodgesPatrick KellyFrançois KlausValerie LisnerMargaret Lucas oamJohn MatthewsDr Neil McCormackAdjunct Prof. Joan Sheldon amNeil Summerson am

EXECUTIVEArtistic DirectorLi Cunxin aoExecutive DirectorDilshani WeerasingheDeputy Executive Director Felicity MandileExecutive AssistantKismet Bourne

ARTISTIC Artistic Associate Liam ScarlettChief Ballet Master & Director of Artistic OperationsGreg HorsmanBallet Mistress & Principal RépétiteurMary LiBallet Mistress & Artistic CoordinatorJanette MulliganBallet Mistress & Creative AssociateRani LutherBallet MasterMatthew Lawrence

ACADEMY Academy Director Christian Tátchev Head of Academy Operations Gabrielle Johnston Head of Academy Business Development & RelationsSarah BoonAcademy Coordinator Kali Harris Academy Teachers Paul Boyd Louise Deleur Lisa EdwardsElena Kozhemyachenko Veronika Sheremetieva Zenia Tátcheva Associate Teachers Wim Broeckx Anthony Lewis Melissa Tattam Amelia Waller Academy Pianists Helen David (maternity leave)Gary DionysiusMark LeungBrett SturdyAssociate Pianists Michelle KimCatherine Yu

ARTISTIC OPERATIONS, EXPERIENCES AND THOMAS DIXON CENTRE PROGRAMMINGHead of Artistic Operations Craig CathcartCompany Coordinator Efrem O’BrienHead of Experiences Jodie TwiteExperiences Coordinator Tess Callanan

BUSINESS SYSTEMSBusiness Systems & Technology ManagerMarcin Kucfir

COMMUNICATIONS & CONTENTDirector of Communications & ContentKendall Battley A/Digital & Content Specialist Faye Sakura Rentoule

DANCERSSee pages 12 – 18

FINANCEDirector of Finance Ian MegomHead of FinanceLynne MastersFinance OfficerTony YanFinance Officer & Assistant Company Secretary Aurelie Pesty

FOUNDATIONFoundation Manager, Grants Jean Attwater Senior Relationships Manager Rachael Walsh Foundation RelationsKristopher BrianFoundation Administration AssistantBridie LiFoundation ServicesCarmel Brown

MARKETING, CORPORATE PARTNERSHIPS & ENTERPRISES Director of Marketing, Corporate Partnerships & Enterprises Zoë Graham A/Marketing SpecialistBrianna McCloskeyA/Marketing CoordinatorJessica PiperA/Ticketing Manager Jennifer Laing Ticketing & Customer Service Specialist Maggie Holmes Head of Corporate Partnerships Danika Bakalich Corporate Partnerships Manager Liz Fisher Corporate Partnerships Executive Sarah Forster

MEDICAL Head of Performance MedicineZara GomesCompany & Academy PhysiotherapistLouise DrysdaleCompany PhysiotherapistMichelle WhiteCompany MasseurPedro AlcobioPilatesCatherine NealNicole VassStrength TrainingTony LewisConsultant Sports PhysicianDr Matthew HislopConsultant General PractitionerDr Ian Mannion

MUSIC Music Director & Principal Conductor Nigel Gaynor Guest Pianist/Assistant Conductor Lucas LynchCompany Pianist Stefanie Gumienik Guest Pianist Roger Cui

PEOPLE Head of Human Resources Candice Sheldon

PRECINCT OPERATIONSDirector Precinct Operations Balveen AjimalHead of PrecinctsLucas GilroyAdministration Officer/WHSWilliam WallaceAdministration OfficersBrianna HanbyEllen GilroyKaren IddonKira HarrisFacilities CoordinatorCampbell MisfeldDuty ManagersSheilagh GaddesJack IddonAdministration/ Business TraineePania Tamati Amber Withall

PRODUCTION Technical DirectorCameron Goerg Head of Production Shaun O’Rourke Technical Manager (Lighting) Scott Chiverton Technical Manager (Staging) Dan Villiers Production Coordinator Heather O’Keeffe Technical Coordinator (Lighting)Skye LillissTechnical Coordinator (Staging)Don Mackenzie

COMMUNITY ENGAGEMENTA/Head of Strategic EngagementGenevieve Dunn Education Manager Martha Godber Engagement & Relations OfficerJoseph Stewart Education & Engagement Coordinator Lily SpencerBusiness Trainee Mahalia Roma Education Teaching Artists Callyn FarrellHolly Frick Lydia MelmethSally RinglandAmelia Waller

WARDROBE Head of Wardrobe & Resident Designer Noelene Hill Deputy Head of Wardrobe Lauryn Jackson Workroom Production Manager/ Principal Cutter Anna Ilic Performance Wardrobe Manager/ Principal Cutter Erin Krosch Academy Costume Coordinator/Cutter Kathryn Lee Wardrobe Workroom & Art Finishing Coordinator Zoe GriffithsCutter/Coordinator/Milliner Vicki MartinCutter/CoordinatorRebekah EllisSenior Costumier/ Workroom AssistantIsabelle LacombeShoe CoordinatorAmanda NewmanWig StylistMichael Green

QUEENSLAND BALLET

Queensland Ballet was founded in 1960 by Charles Lisner obe.

CHAIRChris Freeman am CHIEF EXECUTIVECraig Whitehead MUSIC DIRECTORAlondra de la Parra

CONCERTMASTERWarwick Adeney ASSOCIATECONCERTMASTERAlan Smith VIOLIN 1Shane Chen *Lynn ColeAnn HoltzapffelRebecca SeymourJoan ShihBrenda SullivanStephen TookeClaire TyrellBrynley WhiteRollin ZhaoEmily Francis VIOLIN 2Gail Aitken ~Wayne Brennan ~Katie BettsJane BurroughsFaina DobrenkoSimon DobrenkoDelia KinmontNatalie LowTim MarchmontNicholas ThinHelen TraversMatthew Hesse VIOLAImants Larsens ~Yoko Okayasu >>Charlotte Burbrook de VereNicole GreentreeBernard HoeyKirsten Hulin-BobartJann Keir-HaanteraGraham SimpsonNicholas TomkinMartin Alexander

CELLOMatthew Kinmont =Tim Byrne +Kathryn CloseAndre DuthoitMatthew JonesKaja SkorkaCraig Allister YoungMinJin Sung DOUBLE BASSDušan Walkowicz =Anne BuchananJustin BullockPaul O’BrienKen PoggioliSimon Pauperis

FLUTEAlison Mitchell ~Hayley Radke >>Michal RosiakCassie Slater

PICCOLOStephanie Vici ^ OBOEHuw Jones ~Alexa Murray COR ANGLAISVivienne Brooke * CLARINETIrit Silver ~Brian Catchlove +Kate Travers BASS CLARINETNicholas Harmsen * BASSOONNicole Tait ~Evan Lewis CONTRABASSOONClaire Ramuscak * FRENCH HORNMalcolm Stewart ~Alex Miller >>Vivienne Collier-VickersRyan Humphrey

TRUMPETRichard Madden =Paul Rawson +Chris HudsonDani Rich TROMBONEJason Redman ~Christopher Thomson BASS TROMBONEMatthew McGeachin ^ TUBAThomas Allely * TIMPANITim CorkeronAndrew Knox * PERCUSSIONJosh DeMarchi =Jacob EnokaFraser MatthewAngus Wilson

HARPLucy Reeves ^

SAXOPHONEPierce Hurne ^

~ Section Principal= Acting Section

Principal>> Associate Principal+ Acting Associate

Principal* Principal ^ Acting Principal

QUEENSLAND SYMPHONY ORCHESTRAPRODUCTION CREDITS

06

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We gratefully acknowledge the generous support of the

following patrons, Government and Corporate Partners

towards our capital development projects:

Thomas Dixon Centre, Queensland Ballet Academy

and Queensland Ballet Production Centre.

PO Box 3567, South Bank, Queensland 4101

t (07) 3840 7444 w qpac.com.au

CHAIR

Professor Peter Coaldrake ao

DEPUTY CHAIR

Leigh Tabrett psm

TRUST MEMBERS

Dare Power, Susan Rix am, Leanne de Souza

CHIEF EXECUTIVE

John Kotzas

ACKNOWLEDGMENT

The Queensland Performing Arts Trust is a statutory

body of the State of Queensland and is partially

funded by the Queensland Government.

The Honourable Leeanne Enoch MP, Minister for

Environment and the Great Barrier Reef, Minister for

Science and Minister for the Arts Director-General,

Department of Environment and Science: Jamie Merrick.

QPAC respectfully acknowledges the Traditional

Owners of the Lands across Queensland and pays

respect to their ancestors who came before them

and to Elders past, present and emerging.

Patrons are advised that the Performing Arts Centre

has EMERGENCY EVACUATION PROCEDURES, a FIRE

ALARM system and EXIT passageways. In case of an

alert, patrons should remain calm, look for the closest

EXIT sign in GREEN, listen to and comply with directions

given by the inhouse trained attendants and move in an

orderly fashion to the open spaces outside the Centre.

Introducing Bella Ballerina!

Our magical custom ballet dancer is soft to touch, and loves to twirl and leap. With dazzling golden ballet shoes Bella Ballerina is ready to take to the stage!

A Queensland Ballet and Lauren Hinkley Australia collaboration.

Discover the full QB Collection at the QPAC

merchandise stand in the Lyric Theatre foyer.

QUEENSLAND PERFORMING ARTS CENTRE QUEENSLAND BALLET CAPITAL DEVELOPMENT SUPPORTERS

The Ian Potter Foundation, Anonymous, Roy & Nola Thompson,

The Frazer Family Foundation, Tim & Gina Fairfax,

Mr Trevor St Baker ao & Mrs Judith St. Baker,

Bruce and Jill Mathieson, Lynn Harvey,

Liz & Graeme Wikman, Ian & Cass George,

Steve & Jane Wilson, David & Loraine McLaren,

Mrs Barbara Bedwell, Brett & Maria Clark, Anne Symons,

Clive & Conchita Armitage, Stack Family Foundation,

Goldburg Family Foundation

MAJOR PARTNERS

SUPPORT PARTNERS

GOVERNMENT PARTNERS

08

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OUR PARTNERS

Queensland Ballet is proudly supported by:

GOVERNMENT PRINCIPAL PARTNER

MAJOR PARTNERS

Queensland Ballet receives financial assistance from

the Queensland Government through Arts Queensland

Queensland Ballet welcomes you to contact us if you would like to be involved.

Please phone 07 3013 6666 or email partnerships@queenslandballet.com.au

Queensland Ballet is assisted by the Commonwealth Government

through the Australia Council for the Arts, its arts funding advisory body

SUPPORT PARTNERS

SEASON PARTNERS

Angus Knight Group, Bank of Queensland, Deloitte,

Dr. Lily Vrtik, George Group, Grant Thornton,

King & Wood Mallesons, Oceania Cruises and

Regent Seven Seas Cruises, Valley Plastic Surgery

Darling & Co

The Regatta Hotel, Urbane

OFFICIAL POINTE CORPORATE RESTAURANT PARTNERS SHOE PARTNER CLUB & OFFICIAL SUPPLIERS

Queensland Ballet is a member of

Live Performance Australia and the

Australian Major Performing Arts Group,

and supports the Actors and

Entertainers Benevolent Fund (Qld).

VisionariesThe Ian Potter FoundationOak FoundationAnonymous (1)Kay Van Norton Poche ao

Artistic Director’s CircleAnonymous (2)Veronika ButtaBarbara DuhigIan & Cass GeorgeLynn HarveyThe McLaren FamilyMr Simon Mordant am & Mrs Catriona MordantPatricia Macdonald Memorial FoundationMiss Valmai Pidgeon amAmanda TalbotRoy & Nola Thompson

Principal BenefactorsThe Frazer Family FoundationVirginia McGehee Friend

Queensland AdvocatesPhilip Bacon amJohn BorghettiMichael CameronSimon DyerScott HartleyTony NunanCathie ReidJudith St Baker & Trevor St Baker aoGraham & Jude TurnerSteve Wilson

BenefactorsAnonymous (1)Mary & John BarlowBarbara BedwellRobin Campbell Family FoundationJack & Sharon CowinLi Cunxin ao and Mary LiGoldburg Family FoundationMs Di JamesonThe John Villiers TrustKhitercs Hirai FoundationDr Valmae Ypinazar & Prof. Stephen Margolis oamHelen & Dan McVayC P MorrisMrs Beverley J. SmithAnne SymonsDr Phillip Vecchio & Marissa Vecchio amElizabeth & Graeme WikmanStack Family FoundationHayden Attractions Pty LtdBen Duke & Cate Heyworth-Smith

Music Director’s CircleMr Robert Albert ao & Mrs Libby AlbertJohn & Lynnly ChalkDr Cathryn Mittelheuser amMorgans FoundationFA & MA PidgeonMrs Denise Wadley oam Principal Dancers’ CircleAnonymous (1)Mrs Mary C. BarlowBrett & Maria Clark

Andrea & David GrahamMather FoundationJohn & Georgina Story Soloists’ CircleLewis BellDiana BertalliDarren & Carmel BrownCarole ByronMrs Jane Douglass amAnnmarie FaulknerAngie’s FundMartin GordonRoy HoskinsGay HullLori LowtherPamela MarxKeith McCamleyDenise O’BoyleMarion PenderRoss & Jennifer PerrettSiganto FoundationPaula McLuskie & Nathan SticklenTony Sukkar am & Josephine Sukkar amThe Hon. Justice David Thomas & Mrs Jane ThomasIn loving memory of Walter Fernance

Dancers’ CircleADFAS Brisbane Anonymous (1)Dr Pitre & Mrs Monique AndersonRussell BarnettJanelle BerleseBetzien Duffield FamilyVirginia BishopDavid & Anita CarterSharyn Crawford & Olive Oswald Dr Frank & Dr Ailbhe CunninghamRon & Margot FinneyKylie Ganko Allan Green John & Lois GriffinLouise HamshereMaria HevesDr Shane & Mrs Ciara Higgins Dr Joan M Lawrence amElizabeth LukeijLynne Masters

Jennifer MorrisonMr Kristopher MuddThe Weerasinghe-Neaum FamilyDr Andreas Obermair & Dr Monika JandaNettie Stephenson & James McGrathKim ParascosAmanda PedenMary Peden oamMichael RoddyRhyl RowKristy-Lee SeatonSusan Shadforth & Bruce LawfordMrs Lynn Rainbow-Reid amBruce & Sue ShepherdRobyn & Todd Wanless

Charles Lisner CircleRealised Bequests –Kaye Brain Dancer Education FundIsabell Honor Hall MaynardLesley Merle WilliamsNotified Bequests –Anonymous (1)Dr Sheena BurnellLucien Castand & Donald Robson Dr Valmae Ypinazar & Prof. Stephen Margolis oamDr James McGownKathleen NowikMrs Lynn Rainbow-Reid amJane Steinberg

SupportersAnonymous (50),Penny AcklandRobyn AdamsDr David AdamecAnthony Allan & Dr Alex MarkwellJulieanne AlroeAnastasia AndersenTrisha Anderson P J AnderssenBrian & Pam AndrewJanine ArnoldLorelei BacheFlora BarwickAshlee & Darcy BasfordNicole BeasleyJohn & Janice Bell Penelope Fraser-BensonSarah BeresfordImogen & Lucy BerridgeKathryn Biggs Elin BirksChristopher & Margot BlueLucinda CooperMrs Coral HulcombeKathy BrimsDame Quentin Bryce adDr Sheena Burnell

Marie ByrneElene CaridesElizabeth CarriganAnn CastonGreg & Jacinta ChalmersPeter & Gabrielle ChisholmFiona ClarkBob ClelandZoë ConnollyRexine CooneyAngela Cornford-ScottLee CornwallBarry CowdellLaurie CowledCarolyn CraigMs Lynette CraigDr Gay CrebertPeter & Althea CrowleyDr C Davison Jen DavyMarina De JagerLaurie James DeaneMrs Teresa DurieCheryll HookerPamela Douglas & Barbara HodsonRosemary DouglasMary DugganTom & Cathy DunnMrs Teresa DurieHazel EiversTristan EnglartPaul EvansWilliam Forgan-SmithYvette ForresterBeverlee GarnettProf. Mary GarsonJan & Graeme GeorgeDr Troy & Mrs Karelia GianduzzoJim & Michelle GibsonJacque GilesMandy GoodyearSue & Mike GowanDr Anita GreenDaron GreenDeborah GreenKaren GreenPamela GribbenDanielle GuineaMichael & Annette GunnIsabel & Jessica GunningYiran (Merry) HaSandra HaggartyJoan HallMrs Sally HallMiss Ruth Hamlyn-HarrisJane HammondLouise HamshereMs Jenny HannahIona HansenDavid HardidgeDr Alana HarrisCarmel HarrisK & S HeathcoteJean HeimgartnerMargaret HenryLoma HenrySarah HickmanB J HirschfeldJane Hirschfeld

Mervyn HollandMarilyn HoweKen HoyleRuth HubbardLesley Hunt Iona IredaleJulie IrwinPatricia JacksonShirley JacksonRosie KingNicole KleinColin & Noela KratzingRoss KriegAndrea KriewaldtRoss & Sophia LamontMargaret LansdownJohn & Angela LeakDr Katrina LinesJane Lee LingAndrew & Kate ListerB LloydDr Lesley LlukaElizabeth LoaneChriss MacaranasElizabeth MacintoshSally MacqueenNorman & Cathy MaherNick & Georgia MartinJennifer MartinBuff MaycockGraham McKayMatthew & Ainsley McLarenShirley McMahonLeanne McMillanJustice Philip & Margaret McMurdoAnthony MellickDoug MerrittGino MilaniDan & Kate MilesDesmond B Misso EsqMr Adrian MontgomeryChristine MooreDr Tom MooreMichael & Jacquelin MorrowDeanna MurphyHugh NalderElizabeth NewtonAnita NimmoCarmel NolanPauline & Bill NorthKathleen NowikBarbara O’ConnorBernie O’DowdGreg & Wendy O’MearaDonna O’SullivanLeah PerryCaroline PoonForbes PrattBodycentric AdelaideJann Punch C RalphLynne & Chris RaymontMargaret RegnaultBronwyn RiskMrs Barbara RobinsThe Robinson FamilyAnn RobsonLucien Castand &

Donald RobsonRosemary RodgerLeona RomaniukJudy RussellKathryn RussellJulieanne SadlerBronwyn SaundersJoanne ScottMargaret ScottJake ShavikinLisa SheldonMichael & Angela SheridanIsabella ShueRobynne SiemonDr Nerida SmithKaren PomeroyJ SneydLeonard SparkesElizabeth StaffordTony & Josephine SukkarIrene SymonsRhondda TaffsPenelope ThomsonRhondda ToddPatricia TylerMalcolm TyrrellSusan UrquhartLoryn Van Den BergBeryl & Michael WardFrances WareMs Maryanne WebbColleen WilsonSusan WilsonHelen WitheyJudith WittletonSean WoellnerWendy WoellnerJessie YeowartDonna Young In loving memory of Mardi Bartlett. Queensland Ballet is supported by Queensland Ballet Friends. Our thanks go to everyone who has shown their support by donating to Queensland Ballet. Every gift, large or small, helps us to achieve our vision. If you would like to know more about our philanthropic program, please contact us on 07 3013 6666 or email foundation@queenslandballet.com.au

Acknowledgments correct as at August 2019.

OUR SUPPORTERS

Queensland Ballet is very grateful to the many generous

individuals, trusts and foundations, for their support.

Queensland Ballet acknowledges the

traditional custodians of the land on which

we work and perform. Long before

we performed on this land, it played host

to the dance expression of our First

Peoples. We pay our respects to their Elders

— past, present and emerging — and

acknowledge the valuable contribution

they have made and continue to make to

the cultural landscape of this country.

34 Beesley Street, West End QLD 4101

PO Box 3791, South Brisbane QLD 4101

07 3013 6666

mail@queenslandballet.com.au