Sydney
Dance
Company
Katie Noonan
& ACO2
Triptych
25 Sept —
10 Oct
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8–13 December
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Made possible by
25.09—10.09
Roslyn Packer Theatre Walsh Bay
2—3
Triptych
Part 1: Simple Symphony (22 minutes)
Part 2: Les Illuminations (30 minutes)
Interval (20 minutes)
Part 3: Variation 10 (34 minutes)
Welcome to Triptych, a program in three
parts. Sydney Dance Company is delighted to
be collaborating with the Australian Chamber
Orchestra once more. Our dancers have
revelled in the opportunity to work alongside
the talented musicians of ACO2 under the lead
violin of Thomas Gould.
We are also thrilled to welcome Katie Noonan
back to share the stage with us. This is
the third season Katie has performed with
Sydney Dance Company and we are shortly
to also undertake our inaugural international
tour together with performances in Hong
Kong, in conjunction with the Australian
Chamber Orchestra, then onto Germany
where we will work with the German
Philharmonic Orchestra Rhineland-Palatinate
to deliver Triptych in its European Premiere.
This year we are delivering 79 performances
to audiences from Germany to Hobart and
many places in between. By the end of 2015
in Australia alone, we will have performed
in 14 cities and towns across six states and
territories.
Commissioning new works for the Australian
stage is an important part of what Sydney
Dance Company does and the support
of our partners, private, government and
corporate, make tonight’s performance
and every performance possible and we
wholeheartedly thank them for that support.
Anne Dunn
Executive Director
Over the course of 2015 we have expanded
the reach of our education and outreach
activities and by the end of the year will have
helped over 6,000 young people to explore
their creativity through dance.
#SDCTriptych
Music Program
Part One
Benjamin Britten
Simple Symphony,
Op. 4 (1933-1934)
Boisterous Bourrée
Playful Pizzicato
Sentimental Sarabande
Frolicsome Finale
4—5
Credits
Choreography
Rafael Bonachela
Music
Benjamin Britten
Vocals
Katie Noonan
Musicians
AC O 2
Part Two
Benjamin Britten
Les Illuminations,
Op. 18 (1939)
After poems by Arthur
Rimbaud (1886)
Vocals: Katie Noonan*
*sung in French
Costumes
Toni Maticevski
Fanfare
Villes
Phrase and Antique
Royauté
Marine
Interlude
Being Beauteous
Parade
Départ
Violin
Harry Bennetts 1
Amy Brookman 1
Brielle Clapson 2
Peter Clark 3
Madeleine Jevons 1
Christina Katsimbardis 3
Jenny Khafagi
Monique Lapins 3
Holly Piccoli 3
Part Three
Benjamin Britten
Variations on a Theme of
Frank Bridge, Op. 10 (1937)
Guest Director and Violin
Thomas Gould
Viola
Giovanni Pasini 4
Martin Alexander 1
William Clark 3
Cello
Daniel Yeadon 5
Ruben Palma 1
Anna Pokorny 3
Platinum Partner
The Neilson Foundation,
Carla Zampatti Foundation
$10,000+
Paul Brady and Christine Yip,
Jade and Richard Coppleson,
Judy and Robin Crawford,
Manuela Darling-Gansser
and Michael Darling, Beau
Neilson and Jeffrey Simpson,
Judith Neilson, Gretel Packer,
Roslyn Packer AO, Alastair J
M Walton
$5,000+
Jean Marc Carriol, Rose
Herceg, Naomi Milgrom
AO and John Kaldor AM,
Paris Neilson and Todd
Buncombe, Erin Ostadal and
the late Billy Ostadal, Yashian
Schauble and Tanju Dagli,
Penelope Seidler AM, Bianca
Spender, Waypoint Group,
Di Yeldham
Up to $5,000
Jillian Broadbent AO and
Olev Rahn, Antony Bullimore,
Rosemary Grant, Nicky and
Christopher Joye, Sarah
and Robby Ingham, Skye
and David Leckie, Mark
Stanbridge, Ross Steele AM
Double Bass
Muhamed Mehmedbasic 3
1. 2015 ACO Emerging Artist
2. Courtesy Sydney Symphony Orchestra
3. ACO Emerging Artist alumni
4. Courtesy Qatar Philharmonic Orchestra
5. Australian Chamber Orchestra
#SDCTriptych
Introduction and Theme
Variation 1: Adagio
Variation 2: March
Variation 3: Romance
Variation 4: Aria Italiana
Variation 5: Bourrée
classique
Variation 6: Wiener Waltzer
Variation 7: Moto perpetuo
Variation 8: Funeral March
Variation 9: Chant
Variation 10: Fugue and
Finale
Stage and Lighting Design
Benjamin Cisterne
Triptych is presented with
the support of the 2015
Sydney Dance Company
Commissioning Fund.
Rafael Bonachela
Choreographer
Photo: Peter Greig
Note
The seed of Britten’s Triptych came from
singer Katie Noonan’s imagining of his Les
Illuminations set to dance. We brought her
vision to life, paired with a dance piece
to Britten’s Simple Symphony in 2013 in
the centenary of his birth, and now, with
Variation 10, a full program is born that
celebrates the beauty and depth of this
superb composer.
The beautiful Simple Symphony is about
playfulness, the irresistible charm of youth,
a juvenile spirit and innocence. The titles
of its movements include the adjectives
‘boisterous’, ‘playful’ and ‘frolicsome’. This
work sparked my inspiration and creative
process with its sentimentality and array of
musical colours.
In contrast, Les Illuminations, contrary
to its name, a dark opus, is a song cycle
written in 1939 based on verse and poems
by Arthur Rimbaud. My choreography, a
series of duets, was inspired by the world
of Rimbaud’s poetry and imagery: the
chaos of big cities, the theatricality of life,
the tragic and painful aspects of beauty,
the underworld and the savage parade of
life. This world is dreamy, meditative and
nostalgic with emotional intensity and
erotic visions.
Both Simple Symphony and Les
Illuminations were created for dancers in
pairs and couplings, intimate relationships
of joy, betrayal and affection. I was
interested in finding differing qualities in
these pairings, each to reflect the emotional
canvas of the music.
Variation 10, based on Britten’s Variations
on a Theme of Frank Bridge, allows an
expansion from duets to the ensemble,
the use of the full company in parts and
variations of ten, and provides a continued
opportunity to celebrate Britten’s legacy.
For Variation 10, my inspiration comes
directly from the music, a remarkable
work. Listening to it, it is impossible not to
feel the changing colours in tonality, the
changing worlds, and the changing pace
and feeling. What I love: this is a work of
contrasts, of dark and light, of sadness
and happiness. It is ghostly, forceful,
delicate, passionate, fun, intelligent and
playful. It has it all. To find a piece of music
that allows me to shift from intensity and
passion to something delicate and playful,
all that is present in the music: it is a joy,
and so easy to work with. It’s almost as if it
were made to be danced.
— Rafael Bonachela
6—7
Biography
Rafael Bonachela has been the Artistic
Director for Sydney Dance Company since
2009. He has created several pieces for
Sydney Dance Company including 360°
(2008), we unfold (2009), 6 Breaths (2010),
LANDforms (2011), 2 One Another (2012),
Project Rameau (2012), Les Illuminations
(2013), Emergence (2013), 2 in D Minor
(2014), Scattered Rhymes (2014) and
Frame of Mind (2015). In addition, he has
remounted outstanding repertoire from
Bonachela Dance Company such as Soledad
and Irony of Fate (2010) and The Land of Yes
& The Land of No (2011).
Rafael’s Frame of Mind won the 2015
Helpmann Awards for ‘Best Choreography’
and ‘Best Dance Work’. 2 One Another won
the ‘Best Ensemble’ Award in the 2012
Green Room Awards and the 2013 Australian
Dance Award for ‘Outstanding Achievement
in Choreography’ and ‘Outstanding
Performance by a Company’.
Katie Noonan as well as leading fashion
designers Dion Lee and Toni Maticevski.
Such collaborative efforts reflect the
inspiration he finds and utilises from
culture today.
In February 2013, Rafael was honoured with
an Officer’s Cross of the Order of Civil Merit
by His Majesty the King of Spain.
Rafael began his early dance training
in Barcelona and was a member of the
legendary Rambert Dance Company, both as
a dancer and Associate Choreographer. He
established the Bonachela Dance Company
(BDC) in 2006. As a choreographer, he has
been commissioned to make works for
Candoco, George Piper Dances, ITDANSA,
Danza Contemporanea de Cuba, Transitions
Dance Company and Dance Works
Rotterdam amongst others.
Read more at sydneydancecompany.com/artistic-director
In 2013, Kaldor Public Art Projects brought
Rafael on board to develop the choreography
for artists Jennifer Allora and Guillermo
Calzadilla’s work Revolving Door, which was
part of the acclaimed live performance art
exhibition 13 Rooms. For Sydney Festival
2015, Rafael collaborated with artist Mira
Calix to choreograph for the Inside There
Falls installation at Carriageworks.
#SDCTriptych
His internationally recognised talent has
seen him work not only with contemporary
dance at the highest level but also with
artists from popular culture, such as Kylie
Minogue, Tina Turner, Sarah Blasko and
Music Note
By Paul Kildea
Benjamin Britten was raised on a rich if
standard English public-school diet of
Shakespeare and Tennyson, Coleridge and
Keats; the many songs he wrote in childhood
– some good, many more constrained by
his hymnbook harmonic vocabulary as
he developed as a composer – reflect this
education. W. H. Auden changed this almost
overnight, introducing him in the late 1930s
to Melville and Donne, the madhouse poems
of Christopher Smart, and to the French
bad-boy poet Arthur Rimbaud. Britten’s
compositional voice was therefore maturing
at exactly the same time his knowledge of
poetry was deepening. Musical ideas – some
of them bold attempts to cover over the
tracks of both his juvenile works and English
music in general – fused with modern and
metaphysical poems to produce startlingly
original works.
The first of these was his orchestral song
cycle Our Hunting Fathers, written in 1936
for the soprano Sophie Wyss, an excoriating
attack on the values and easy cruelty of the
hunting set, which thoroughly perplexed
audiences and performers alike. Two years
later, on a train somewhere with Britten,
Wyss watched the composer lose himself in a
volume of Rimbaud’s poems – possibly using
his schoolboy French, but more probably in
translation – his eyes wide and shining as he
promised to write her a cycle based on them.
Les Illuminations was the result.
The beautiful teenage Rimbaud, whose
tumultuous affair with Paul Verlaine, enacted
in squalid episodes throughout Europe in the
early 1870s, inspired his poetry, captivated
Britten. There were resonances closer to
home, however. Britten was engaged in his
first relationship at the time of composition,
the young Wulff Scherchen picking up the
dedication of Antique, a sensuous setting
full of the sounds of a travelling street band
in celebration of male mythological beauty.
(‘Thine eyes – those precious globes – glance
slowly.’) Scherchen had competition: the
tenor Peter Pears had befriended Britten at
this time and would in the following year turn
friendship into something more.
Britten tacitly admitted their rapport by
dedicating Being Beauteous to Pears, the
touching poem in which a beautiful creature
leaves this world for the next, the slow-pulsed
harmonies and invading chromaticism
charting her spiritual transformation. Britten
returns twice to the cycle’s epigraph – ‘I
alone hold the key to this savage parade’
– as if to suggest that audiences will find
the progression of strange creatures in the
poems wholly alienating, their significance
and connection remaining in Britten’s
head alone.
Britten’s mastery of the string orchestra
in Les Illuminations – the exquisite solo
writing, the harmonics and glassy textures
– was partly a consequence of his expertise
as a violist, partly because of his earlier
Simple Symphony (1934). This too had
autobiographical elements: with his father
dying in the room next door as he composed
it, the eighteen-year-old Britten was
determined somehow to preserve in music
his happy childhood, excavating his juvenilia
to this end.
The alliterative titles of each movement –
Playful Pizzicato; Sentimental Saraband;
etc – are in on the joke, but Simple Symphony
is nonetheless a serious work, one that
underlines the sheer melodic beauty
of the early works Britten discarded for
one technical reason or another, but was
8—9
happy enough to mine for this symphony.
And though Britten never made claims for
Simple Symphony as great art, he remained
fond of the piece, glad that it gave many
young players their first exposure to his
music, happy to recognise that his boyhood
compositional voice had contained some
merit, no matter how sternly he had censured
the fruits of his early labours.
Were it in his personality Britten could
legitimately have claimed the mantle of great
art for the Variations on a Theme of Frank
Bridge, a piece of phenomenal imagination
and sheer technical verve. Composed in a
mad dash in the summer of 1937, it was the
result of a last-minute commission from
conductor Boyd Neel who was preparing to
take his orchestra to the Salzburg Festival
that same August and needed to comply with
the Festival’s stipulation that they premiere
a British piece. Commission aside, Britten’s
scribbled dedication in the score – ‘To F.B.
A tribute with affection and admiration’ –
demonstrates the work’s real guiding force:
Britten’s composition teacher Frank Bridge.
By the end of the 1930s Britten was recognised as a composer of great craft and
consistency, writing standout works such as
Sinfonia da Requiem and the Violin Concerto. Yet without Simple Symphony, without
Variations on a Theme of Frank Bridge and
Les Illuminations, it is impossible to conceive
of him arriving at point in his artistic development. They are vital milestones on his
compositional journey.
Paul Kildea © 2015
Paul Kildea is the author of Benjamin Britten: A Life in the 20th
Century. Paul is a writer and conductor who has performed many
of the Britten works he writes about, in opera houses and concert
halls from Sydney to Hamburg. He was Head of Music at the
Aldeburgh Festival between 1999 and 2002 and subsequently
Artistic Director of the Wigmore Hall in London.
#SDCTriptych
From 1928 onwards, when Britten first began
lessons with him, Bridge helped his young
pupil shake off the more parochial effects of
his upbringing and schooling, leaving him
ripe for Auden’s later interventions. The
impact came not simply through the example
of Bridge’s own music – which engaged more
and more with Continental modernism in the
late 1920s – but through the fundamental
lesson on how to live and think as an artist,
with the added suggestion that performance
standards and cultural aspirations in Britain
between the wars were remarkably slapdash.
Britten was to be a professional composer
in a country that recognised no such thing.
If Britten had a weakness in these years it
was his penchant for old-fashioned genres
or forms – Viennese waltzes, funeral
marches (he was discovering Mahler),
fugues, bourrées and the like – a defiantly
conservative streak in the face of the musical
revolutions happening on the Continent.
Yet the sheer skill with which he employed
these genres dispels any reservations.
Lifting a theme from the second of Bridge’s
Three Idylls for string quartet, Britten created
a tribute to different character traits of his
teacher: his integrity, energy, charm, humour,
skill and so on, each trait matched with a
musical form that was then magicked into
something quite astonishing. (This quality
– exquisite set pieces within an overarching
dramatic arc – is what caught the ear of
choreographers as early as 1942.)
Thomas Gould
Guest Director
and Violin
Biography
Biography
AC O 2, the ACO’s critically acclaimed string
ensemble, delivers the ACO’s regional
touring and education programs. It
connects the elite musicians of the ACO
with Australia’s most talented young
professional musicians at the outset of their
careers, creating a combined ensemble
with a fresh, energetic performance
style. These young professionals have
all participated in the ACO’s year-long
Emerging Artists’ Program. It is testament
to the ACO’s Emerging Artists’ Program’s
success that four former AC O 2 members
have been appointed members of the ACO.
Described as ‘a soloist of rare refinement’,
Thomas Gould has performed as a soloist
with major orchestras worldwide including
Hallé Orchestra, LA Phil New Music
Group, Royal Philharmonic Orchestra and
West Australian Symphony Orchestra,
collaborating with conductors such as John
Adams, Nicholas Collon, Paul Daniel, Clark
Rundell, John Rutter, Robin Ticciati and
Garry Walker.
Photo: Jack Saltmiras
AC O 2
Musicians
ACO2 commenced touring in 2007 and has
since toured to over 80 regional centres
in every state and territory. The Ensemble
regularly works with international and
Australian guest artists of the highest
calibre. Biennially, AC O 2 is the Orchestra in
Residence at the Vasse Felix Festival in WA.
AC O 2 runs workshops and presents
concerts for school-aged students in
regional and metropolitan areas. In this
way the ACO’s Education Program
identifies, connects and mentors three
generations of Australian string players,
making the future very bright indeed.
ACO General Manager Timothy Calnin
AC O 2 & ACO VIRTUAL Manager Phillippa Martin
Education Assistant Caitlin Gilmour
Read more at sydneydancecompany.com/aco2
Recent and upcoming orchestral
engagements include performances
with the Sønderjyllands Symfoniorkester,
Philharmonie Zuidnederland, Kazan
Philharmonic, City of Birmingham
Symphony Orchestra and Orchestre
Nationale de Bretagne amongst others.
Thomas recently signed exclusively with
Edition Classics, the first release in May
2015 was a live recording of Beethoven’s
Violin Concerto and Vaughan Williams’
The Lark Ascending with Sinfonietta Riga.
Thomas is Leader of Aurora Orchestra and
associate leader of Britten Sinfonia.
A strong advocate of contemporary music,
he has given numerous world, UK and
London premières, including concertos
by Nico Muhly, John Woolrich, Hans
Abrahamsen and Christopher Ball.
Read more at sydneydancecompany.com/thomas-gould
10—11
Katie Noonan
Vocalist
Photo: Ellis Parrinder
Note
Biography
When I was a young girl I sang in the chorus
for Benjamin Britten’s War Requiem and
ever since that day I have adored his
expressive and inventive music. He writes
so very beautifully for the voice – I like to
think that his love for his life partner (tenor
Peter Pears) is reflected in the wonderful
notes he wrote for the voice. Britten’s notes
keep on finding me at various points in my
life and fill me with inspiration.
Katie Noonan’s technical mastery and pure
voice makes her one of Australia’s most
versatile and beloved vocalists. A mother,
singer, producer, songwriter, pianist and
business woman, this 4 x ARIA award
winning and 7 x platinum selling songstress
first received widespread praise as the
angel-voiced songstress of indie-pop band
George and has since taken audiences on
sublime excursions through Jazz, Pop and
Classical music.
Upon discovering Les Illuminations I
immediately imagined it as a dance piece
and am so thrilled that this dream has
become a reality alongside the incredible
musicianship of ACO2 and the potent
choreography of Rafael Bonachela and
his beautiful dancers of Sydney Dance
Company. It really is a gorgeous feast of
sound and movement and I am thrilled to
be a part of it.
— Katie Noonan
In 2013 the Herald Sun ran a poll asking
Australia’s most famous vocalists to
nominate the greatest Australian singers
of all time. Katie was voted in the top 20
sharing this honour with the likes of Michael
Hutchence, Bon Scott, Neil Finn, The Bee
Gees and Gurrumul.
Katie has performed by invitation for
Australian and international Prime Ministers,
members of both the British and Danish
Royal Families and His Holiness The
Dalai Lama as well as performing across
Australia, the USA, Canada, Europe and
South East Asia.
Read more at sydneydancecompany.com/katie-noonan
#SDCTriptych
In 2015 Katie released a new album
Transmutant which she is touring across
the country in Oct/Nov.
Toni Maticevski
Costume Designer
Photo: Marinco Kojdanovski
Note
Biography
The creation of three sets of costumes for
Triptych is a story that extends over three
years, since 2013, beginning with my original
commission, to design for Les Illuminations.
Since launching his label in 1999, Toni
Maticevski has retained a strong hands-on
approach to his work, draping and sampling
his designs himself. He balances the design
and creation of a successful ready-to-wear
label alongside his bespoke practice catering
to one off commissions. His particular mix
of high glamour and exacting technical
know-how, coupled with a restrained and
sleek tailoring have earned him local and
international recognition.
Benjamin Britten’s music for this show was
so beautiful, romantic and sensual, I didn’t
want to make these costumes too modern.
Simple Symphony has an innocence, which
was reflected in the pale nude colour of the
costumes. These pieces include beading
and chiffon that twists around the body. For
Les Illuminations the costumes and attitude
were darker, sexier and more suggestive.
For Variation 10 I really wanted to bring a
movement and volume to the dancers. The
colours were kept to cool shades of grey and
silver, in varying hues and textures.
There was a real focus on zones on the
body. A lot of the male dancers bodies are
enhanced with slung lines that manoeuvre
around their chests, crotches, arms and
backs. The female dancers are given a softer
more romantic almost distressed ballerina
treatment, with tiered volumes cascading
and warming the silhouettes.
Driven by his desire to continually
experiment, Maticevski’s work exhibits
considerable diversity from one season to
the next. Choosing to eschew mainstream
trends, he acknowledges that rather than
trying to make his collections commercial,
he prefers to work on ideas that are
creatively challenging and likely to push
his designs further.
Rafael is so particular with how he likes his
dancers to look and present. I took it as a
bit of a challenge for this final piece to add
volumes and layers to the dancer’s costumes.
Things that felt bound and almost entwined
like some of the movements that Rafael and
the dancers create together.
— Toni Maticevski
Read more at sydneydancecompany.com/toni-maticevski
12—13
Ben Cisterne
Stage and
Lighting Design
Photo: Ben Symons
Note
Biography
The relationship between music, costume,
movement, stage and light design in Simple
Symphony is well defined by its name.
A clean and pure stage design is used
with a light floor defined by its edges. The
orchestra, vocalist and dancers inhabit this
space to create a singular image.
Benjamin’s reputation is for finesse and a
gutsy approach to design, based in light.
Benjamin is known for creating bold designs
that are integral to a project. He works
collaboratively on all projects and has been
involved in all forms of museum, exhibition
and performing arts projects professionally
for 15 years. Benjamin is passionate about
the capability of light in spacial design,
performance and its role in art. Benjamin
has extensive experience working both
nationally and internationally with diverse
teams and projects. He splits his time
between exhibition / museum specification
and performing arts design where he is
especially well-known for his work in dance.
In contrast, Les Illuminations is defined
by darkness and lack of borders. The task
of framing these two very different works,
Simple Symphony and Les Illuminations in
the original 2013 season has been amplified
with the addition of Variation 10.
The approach was to work with the existing
pallet, utilising the open space and bright
warmth of Simple Symphony, the darkness
and contrast of Les Illuminations and the
interaction between these two worlds to find
a place for this variation.
­— Ben Cisterne
Benjamin’s lighting design for Sydney Dance
Company’s 2 One Another was nominated
for a 2012 Green Room Award. His other
work for Sydney Dance Company includes
Project Rameau, Contemporary Women,
Emergence, Les Illuminations, 2 in D Minor,
L’Chaim!, Scattered Rhymes, Parenthesis
and Frame of Mind.
#SDCTriptych
Read more at sydneydancecompany.com/benjamin-cisterne
Chris Aubrey
Rehearsal Director
Photo: Ben Symons
Biography
Originally from Sydney, Chris graduated
from Adelaide Centre for the Arts in 2007
with a Bachelor of Dance Performance
and completed his Cert III and IV in Fitness
in 2008. He joined Australian Dance
Theatre and worked under the direction
of Garry Stewart between 2007 and 2011.
He also worked with Larissa McGowan,
Antony Hamilton, Lina Limosani, Leigh
Warren and choreographed his debut
piece titled Apophenia.
Chris joined Sydney Dance Company as a
dancer in 2012 and has performed in the
world premiere of Rafael Bonachela’s 2
One Another (2012-2014); Project Rameau
(2012); Emergence (2013) and 2 in D
Minor (2014). He has also worked with
guest choreographers Larissa McGowan
(Fanatic); Alexander Ekman (Cacti);
Jacopo Godani (Raw Models) and Gideon
Obarzanek (L’Chaim!). He was named in the
2012 Dance Australia Critics Survey ‘Most
Outstanding Dancer’ for his performance in
The Land of Yes & The Land of No.
Chris was a part of the 2013 collaboration
with Kaldor Public Art Projects for the
contemporary art exhibition 13 Rooms where
Sydney Dance Company featured in Allora
and Calzadilla’s Revolving Door. He also
toured North America, South America and
Russia with the acclaimed 2 One Another,
winner of the ‘Best Ensemble’ Award in the
2012 Green Room Awards and the 2013
Australian Dance Award for ‘Outstanding
Achievement in Choreography’ and
‘Outstanding Performance by a Company’.
Chris was appointed Rehearsal Director
of Sydney Dance Company at the start
of 2015.
Read more at sydneydancecompany.com/rehearsal-director
Richard Cilli
Biography
Biography
Juliette was born in Perth, where she
completed the majority of her dance training,
first at the Graduate College of Dance with
Terri Charlesworth, and then going on
to graduate from the Western Australian
Academy of Performing Arts (WAAPA) with
an Advanced Diploma in Dance in 2003.
Her studies followed with a Bachelor of Arts
in Dance in 2004, obtained as a member of
LINK Dance Company in affiliation with Edith
Cowan University.
Richard Cilli began dancing with STEPS Youth
Dance Company in Perth, before studying at
WAAPA. Cilli joined Sydney Dance Company
in 2009 and in 2010 won the Helpmann Award
for ‘Best Male Dancer’ for his performance in
Rafael Bonachela‘s We Unfold.
Throughout her career, Juliette has
performed with Diversions Dance Company
in Wales and Russell Maliphant Company.
She joined Sydney Dance Company in 2009.
Juliette made her choreographic debut with
her solo piece, Scrutineer, for Sydney Dance
Company and Carriageworks’ New Breed
season in 2014.
Juliette was named in the 2012 Dance
Australia Critics Survey ‘Most Outstanding
Dancer’ for her performance in The Land
of Yes & The Land of No. She was also
nominated for a 2014 Green Room Award for
‘Best Female Dancer’ in Interplay.
14—15
Juliette Barton
During his four years at the Company he
worked with renowned choreographers
including Emanuel Gat, Jacopo Godani and
Kenneth Kvarnstrom, and toured extensively
nationally and internationally.
He was the winner of the Australian Ballet’s
50th Anniversary Ballet Competition, along
with composer James Wade and designer
Monica Morales, pitching the concept and
treatment of a new full-length ballet entitled
Corpus Callosum. In 2013 Richard danced
for London based choreographer Alexander
Whitley in The Measures Taken at Sadler’s
Wells Theatre.
Richard spent 2014 as a member of K.
Kvarnström & Co, the resident dance
company of Kulturhuset Stadsteatern in
Stockholm, Sweden. He also choreographed
and staged an excerpt of his work Corpus
Callosum on the dancers of The Australian
Ballet for their emerging choreographers’
season Bodytorque.DNA.
#SDCTriptych
2015 saw Richard return back to Sydney
Dance Company.
Holly Doyle
Janessa Dufty
Biography
Biography
Holly Doyle comes from Miranda NSW
and has trained under the direction of Gilli
O’Connell, Tibor Horvath, Matthew Shilling,
Anton Bogdanovych, Matt Trent, Kristina
Chan and various other tutors from the
Australian dance community.
Janessa is of Australian and Filipino heritage.
She grew up in Yamba, a small coastal town
in Northern NSW and started dancing at
the age of 5 at the Adele Lewis School of
Dance. She received a scholarship to attend
the Queensland Dance School of Excellence
where she finished her senior studies and
gained her Royal Academy of Dance Solo Seal
Award. While in Brisbane she also performed
in the Queensland Ballet’s production of
Excalibur, directed by Francois Klaus.
Holly studied dance at Newtown High School
of the Performing Arts, where she received
extensive contemporary and classical training
for seven years. Completing her Higher
School Certificate in 2011, Holly was awarded
first in the state for Classical Ballet.
Holly joined Sydney Dance Company in 2013
on an initial three-month scholarship. It is
thanks to the generosity of a special group
of Partners, and their support of our A Year
on The Wharf program, that Holly was able to
continue to train, tour and perform with the
Company beyond her scholarship.
Holly was named in the 2014 Dance Australia
Critics Survey for being a ‘Dancer to Watch’
in Charmene Yap’s Do we as part of the 2014
New Breed season.
At the age of 18 she continued her dance
development at the New Zealand School of
Dance (NZSD), majoring in Contemporary.
After completing her diploma at the NZSD,
Janessa joined New Zealand’s acclaimed
Black Grace Dance Company.
Janessa joined Sydney Dance Company
in 2009. She has been named in the 2012
and 2014 Dance Australia Critics Survey
for ‘Most Outstanding Dancer’.
Fiona Jopp
Biography
Biography
Born in Melbourne, Cass trained at the
Australian Ballet School and performed
with the West Australian Ballet from
2006-2009. While working with the West
Australian Ballet, Cass was commissioned
to choreograph numerous works.
Fiona Jopp was born on the Gold Coast and
began her training at The Gold Coast City
Ballet with Dawn and Joy Ransley before
finishing at the Palucca School in Dresden
and the Royal Conservatory in The Hague.
In 2010 Cass became co-director of the
Australian dance/media company, Ludwig,
where he created and performed in several
dance works including Solo 1.5, which was
awarded ‘Most Outstanding Performance’ at
the 2011 Rome International Choreography
Competition. In 2012 he was awarded 3rd
prize at the Stuttgart International Dance
Theatre Festival for his performance in
BodySong, choreographed by Emma Sandall.
In 2012 Cass co-created and performed
Fleck&Flecker with Emma Sandall, which
in 2013 was awarded ‘Most Outstanding
Choreography’ at the West Australian Dance
Awards and named ‘Best New Work’ in
Dance Australia’s 2013 Critics Survey.
Cass joined Sydney Dance Company in
January 2013. He choreographed a piece for
Sydney Dance Company and Carriageworks
2014 New Breed season, Dogs and Baristas,
and Sydney Symphony Orchestra’s Le Grand
Tango in April 2015.
Fiona was in the Australian production of
The Lion King, Pimlico Opera’s West Side
Story in London, music videos for M.I.A and
Calvin Harris, in Madonna’s film Filth and
Wisdom, World War Z by Marc Forster and
Joe Wright’s Anna Karenina.
Whilst freelancing in London, she worked
and toured with Michael Clark Company,
Bonachela Dance Company, Emanuel
Gat Dance, Javier de Frutos and Cameron
Mcmillan.
During Fiona’s time with Sydney Dance
Company she has performed choreography
by Rafael Bonachela, Emanuel Gat, Jacopo
Godani, Gideon Obarzanek, Andonis
Foniadakis, Gabrielle Nankivell, Lee Serle
and Cass Mortimer Eipper. She will create a
new piece for Sydney Dance Company and
Carriageworks’ New Breed 2015 season,
showing 8-13 December.
#SDCTriptych
Cass was recently nominated for a 2014
Green Room Award for ‘Best Male Dancer’
in Interplay and he won the 2015 Helpmann
Award for ‘Best Male Dancer’ in William
Forsythe’s Quintett.
16—17
Cass Mortimer Eipper
Bernhard Knauer
David Mack
Biography
Biography
Born in Germany, Bernhard attended
the Palucca School in Dresden before
completing his dance training at The Royal
Conservatory in The Hague.
David began his training at the Victorian
College of Arts in 1998 finishing his
secondary school education and completing
a Bachelor of Arts in Dance.
In 2005 Bernhard was invited to join the
ballet of Theater Görlitz in Germany under
the direction of Franz Huyer. He then
performed in Innsbruck, Austria with the
State Theatre of Tyrol dancing numerous
soloist roles including Siegfried in Birgit
Scherzer’s Swan Lake and the title role in
Brel- le Grande Jacques.
After briefly freelancing while studying, he
joined West Australian Ballet in 2002 and
stayed with the Company until the end of
2003. In 2004 David joined the Rambert
Dance Company in London where he spent
two years performing principal and soloist
roles in works by Christopher Bruce, Rafael
Bonachela, Wayne McGregor, Fredrick
Ashton, Kim Branstrup and Michael Clark.
Bernhard joined the Dutch National Ballet
for the 2008 season of Toer van Schayk
and Wayne Eagling’s Nutcracker and
Mouse King. He performed in Yuri Zhukov’s
Pioneer Plaques 2009 and Hlín Diego
Hjálmarsdóttir’s Caught In The Square
as part of Zhukov Dance Theatre’s 2009
season in San Francisco.
Bernhard joined Sydney Dance Company
in 2010. He will create a new piece for
Sydney Dance Company and Carriageworks’
New Breed 2015 season, showing
8-13 December.
In 2006 David was invited to work with Javier
de Frutos at Phoenix Dance Theatre. The
company toured extensively performing at
the Venice Biennale and all over the UK. In
2008 he returned to West Australian Ballet
as a soloist and choreographed his first
work Papillon in the 2009 Genesis season.
David joined Sydney Dance Company in
2014. He was recently nominated for a 2015
Helpmann Award for ‘Best Male Dancer’ in
William Forsythe’s Quintett.
Alana Sargent
Biography
Biography
Chloe Leong started dancing at the age
of six at Sydney’s Brent Street studios, and
later studied at Lindfield’s Ecole Ballet and
Dance Theatre.
Alana Sargent was born in Gisborne, New
Zealand, where she began her ballet training
at the Diane Logan School of Dance at
the age of 5. In 2004 she started training
under the Junior Associates program at
the New Zealand School of Dance (NZSD),
as a precursor for her acceptance into the
school’s full-time Contemporary program.
In 2010 she completed three years training
at London’s Rambert School of Ballet and
Contemporary Dance. During her final year
of training, she preformed A Linha Curva by
Itzik Galili with the Rambert Company for their
National UK Autumn tour Seven for Secret.
Chloe moved to Barcelona in 2012 to join
the junior contemporary company IT Dansa
under the direction of Catherine Allard.
During her two years with the Company
she performed works by Rafael Bonachela
(Naked Thoughts), Alexander Ekman (Whim),
Ohad Naharin (Kumyot) and Sidi Labi (In
Memorium).
Joining Sydney Dance Company in 2015,
Chloe featured in Rafael Bonachela’s Frame
of Mind and William Forsythe’s Quintett.
Chloe won the 2015 Helpmann Award for
‘Best Female Dancer’ for her role in Quintett.
18—19
Chloe Leong
Toward the end of her graduating year
at NZSD, Alana attended an Australian
secondment with Sydney Dance Company,
and was invited to attend their auditions. As
a result, Alana was offered a contract with
the company, sponsored by FOXTEL, who
chronicled her experience in a documentary.
The setting for the documentary – and focus
of her contract – was the Sydney Dance
Company season of New Creations 2, where
she worked alongside the Company with
Israeli choreographer Emanuel Gat.
Alana has also performed in New Zealand
with Sacha Copland and Wellington-based
Java Dance Company for their 2011 season
of Rise.
Alana has been a member of Sydney Dance
Company since 2012.
#SDCTriptych
Daniel Roberts
Jesse Scales
Biography
Biography
Originally from Melbourne, seasoned
dancer and choreographer Daniel Roberts
graduated from the Victorian College of
the Arts secondary school in 2005. He
continued his training at The Australian
Ballet School where he graduated in 2008
with an Advanced Diploma in Classical Ballet
and another in Classical Choreography,
making him the first student in the school’s
history to graduate with a double diploma.
Born in Hobart, Tasmania, Jesse Scales
completed her early training in Adelaide with
Terry Simpson where she gained the RAD
Solo Seal at 16. Jesse then went on to study
at the NZSD, majoring in Classical Ballet, and
graduated in 2011 with a National Certificate
in Dance Performance.
In 2009 Daniel joined the Singapore Dance
Theatre, working with David Dawson, Jorma
Elo and Choo San Goh. In 2011 he became
a member of West Australian Ballet. Daniel
created Jubilate for the company’s Ballet at
the Quarry season in 2013 and in 2015 his
work Hold the Fourth premiered in Perth.
Daniel joined Sydney Dance Company
in 2015.
In 2009, Desmond Richardson awarded
Jesse a full scholarship to study with him and
Co-Artistic Director Dwight Rhoden at the
Complexions Contemporary Ballet Summer
Intensive in New York.
At the end of 2009, Jesse joined the
Melbourne Ballet Company for Project
Six: Moment of Inertia and worked with
choreographers Simon Hoy and Robert
Kelly for which she was awarded the Artistic
Director’s Young Dancer Award.
Jesse also appeared in Meryl Tankard’s
Australian Dance Theatre performance of
1998 and Graeme Murphy’s Swan Lake with
The Australian Ballet.
Jesse has been with Sydney Dance Company
since 2012. Her performance in William
Forsythe’s Quintett was nominated for a 2015
Helpmann Award for ‘Best Female Dancer’.
Petros Treklis
Biography
Biography
Todd Sutherland was born in Queensland
and received his early training at the
Queensland Dance School of Excellence
(2001) and later at the Australian Ballet
School (2002-2004). In 2004, Todd toured
with the Dancer’s Company (Australian
Ballet) before accepting a contract with Walt
Disney Productions for performances in
Tokyo, Japan (2005-2007). In 2006 he joined
Queensland Ballet where he remained until
the end of 2010.
Born in Melbourne, Australia, Petros moved
to London in 2007, where he was offered
a place on the Degree Course at Laban
Conservatoire for Contemporary Dance.
During his time training at Laban, Petros
worked with Rosemary Butcher, Gary
Lambert, Dam Van Huynh, Rosemary
Brandt, Charles Linehan and Kerry Nicholls.
Todd is an accomplished gymnast, having
been the Queensland All-round State
Champion from 1999-2001. He was also a
member of the Australian Gymnastics Team
and the Australian National Floor Exercise
Champion, reaching Level 9 in Men’s Artistic
Gymnastics in 2001.
Todd joined Sydney Dance Company in 2011.
Highlights in Todd’s career at Sydney Dance
Company include performing in Alexander
Ekman’s critically acclaimed Cacti and a
feature role in William Forsythe’s Quintett.
20—21
Todd Sutherland
In 2010 Petros joined Tavaziva Dance, where
he stayed for four years. He has also danced
for Watkins Dance, joining the Company
as a guest artist in 2012 and IJAD Dance
Company working with them on their 2013
project In-Finite Space.
In 2014, Petros made the move back from
London to Australia and joined Sydney
Dance Company for the Louder Than
Words season.
#SDCTriptych
Sam Young-Wright
Charmene Yap
Biography
Biography
Sam was born in Canberra, where he
completed the majority of his dance
training with Quantum Leap Youth Dance
Company under the artistic direction of
Ruth Osborne. He also danced with Fresh
Funk and The National Capital Ballet School.
While in Canberra Sam was awarded the
Dame Peggy Van Praagh choreographic
development scholarship and received the
‘Best Male Dancer Award’ for Short and
Sweet Canberra.
Charmene Yap graduated from WAAPA with
a Bachelor of Arts in Dance in 2006. Upon
graduating, Charmene received an Australia
Council Skills and Development Grant for
young and emerging artists, which allowed
her to second with several choreographers
including Lucy Guerin, Sue Healey and
Tanja Liedtke.
During his time studying at WAAPA, Sam
seconded with Sydney Dance Company for
the Australian premiere of choreographer
Alexander Ekman‘s Cacti as part of De
Novo in 2013. In 2014 Sam was awarded a
scholarship to attend the Nederlands Dans
Theater Summer Intensive, performing
a new creation by Marco Goecke and
repertoire from Crystal Pite, Sol León and
Paul Lightfoot.
Sam was offered a place in Sydney Dance
Company’s inaugural Pre-Professional Year
directed by Linda Gamblin in 2014 and
performed in Louder Than Words. He joined
the Company this year and performed a
feature role in the Australian premiere of
William Forsythe’s Quintett.
Charmene was nominated for the
prestigious world-wide Rolex Mentor and
Protégé Arts Initiative Award and was a
successful applicant for the 2009/2010
SCOPE program to expand her interest
in architecture.
Charmene has previously worked with
Chunky Move, Lucy Guerin Inc., Tasdance
and Dancenorth. Joining Sydney Dance
Company in 2010, Charmene has won
multiple awards including ‘Outstanding
Performance by a Female Dancer’ for the
2013 Australian Dance Awards and ‘Best
Female Dancer’ for the 2012 Helpmann
Awards for her performance in Rafael
Bonachela’s 2 One Another. She was
awarded the 2014 Helpmann Award for
‘Best Female Dancer’ for her performance
in Rafael Bonachela’s 2 in D Minor. She was
also named in the 2014 Dance Australia
Critics Survey for ‘Most Outstanding
Dancer’ for her performances in Interplay
and 2 One Another.
Last year Charmene made her
choreographic debut with Do we, a
piece for Sydney Dance Company and
Carriageworks’ New Breed season.
Read more at sydneydancecompany.com/dancers
—
Board Of Directors
Andrew Messenger (Chair)
Pam Bartlett
Peter Brownie
Jean-Marc Carriol
Brett Clegg
Jane Freudenstein
Kiera Grant
Randal Marsh
Karen Moses
Beau Neilson
Carla Zampatti
Patron
Darcey Bussell CBE
Ambassadors
Judy Crawford
Bee Hopkins
Jules Maxwell
—
Management
—
Artistic Director
Rafael Bonachela
Executive Director
Anne Dunn
Deputy Executive Director
Sean Radcliffe
Producer
Dominic Chang
Executive Assistant
Alexandra Cook
Payroll Assistant
Carina Mision
Development Director
Lizzi Nicoll
Business Development Manager
Kate Munnelly
Philanthropy Manager
Michelle Forsyth
Patron Manager
Susan Wynne
Development Coordinator
Joshua Forward
Philanthropy Assistant
Carina Martin
Marketing Manager
Zena Morellini
Marketing Coordinator
Chontelle Clark
Publicist
Julie Clark
Resident Multi-media Artist
Peter Greig
Education Coordinators
Katherine Duhigg, Emma Powell
—
The Company
—
Rehearsal Director
Chris Aubrey
Juliette Barton
Richard Cilli
Holly Doyle
Janessa Dufty
Cass Mortimer Eipper
Fiona Jopp
Bernhard Knauer
David Mack
Chloe Leong
Alana Sargent
#SDCTriptych
Accountant
Melissa Sim
Business Consultant
Bruce Cutler
22—23
Sydney
Dance
Company
Daniel Roberts
Jesse Scales
Todd Sutherland
Petros Treklis
Sam Young-Wright
Charmene Yap
—
Production
Pre-Professional Year
Course Director
Linda Gamblin
—
Dance Studios
—
—
Director, Dance Classes
Ramon Doringo
Technical Director
Guy Harding
Dance Studios Manager
Tamara Wheeler
Stage Manager
Simon Turner
Office Assistant
Narelle Howarth
Production Technician
Tony McCoy
Rehearsal Photography
Peter Greig
Head Mechanist
John Shedden
Campaign Photography
Justin Ridler
Wardrobe Supervisor
Fiona Holley
Dancer Portraits
Ben Symons and Peter Greig
—
—
Dancers Treatment and Care
Sydney Dance Company
The Wharf, Pier 4
15 Hickson Road
Dawes Point NSW 2000
—
Company Doctor
Dr. Michael Berger
Sports and Exercise Physician
Dr. Ken Crichton
Physiotherapists
April-Rose Ferris
Marko Becejski
Maleeka Rayner
Company Teachers
Andrea Briody
Lucas Jervies
Nicola Wade
Kristina Chan
Lisa Griffiths
Cathie Goss
Alister Grant (accompanist)
Philipe Klaus (accompanist)
—
Join the conversation:
#SDCTriptych
sydneydancecompany.com
facebook.com/sydneydanceco
twitter.com/sydneydanceco
instagram.com/sydneydanceco
youtube.com/sydneydancecompany
24—25
Sydney
Dance
Company
Partners
Sydney Dance Company’s Partners provide the vital
support we need to commission new works, share them
with audiences around Australia and overseas, grow our
education program and support emerging talent. We
would like to thank all those who have contributed to our
Commissioning Fund, Touring Fund, Education Fund and
Partner Program. We would also like to thank all of our
partners who wish to remain anonymous.
Platinum Partners
$100,000+
Robert Albert AO
and Elizabeth Albert
The Balnaves Foundation
Crown Resorts Foundation
Julian and Lizanne Knights
Andrew Messenger
The Neilson Foundation
Packer Family Foundation
Thyne Reid Foundation
Carla Zampatti Foundation
Chris and Susie Townsend
Alastair J M Walton
The Waypoint Group
Duet Partners $5,000+
Australia China Art
Foundation
Dr Richard Balanson
and Dawn Talbot
Carrie and Steve Bellotti
Andrew Bird and Alexandra
Holcomb Bird
Andrew Cameron AM
and Cathy Cameron
Jean-Marc and Kirsten
Carriol
Peter Chadwick
Brett Clegg and Annabel
Hepworth
Susie Dickson and Martin
Dickson AM
James and Jacqui Erskine
Paul and Roslyn Espie
Annalise Fairfax
David Fite and
Danita Lowes
Chris and Tony Froggatt
Judy Garb-Weiss
and Sam Weiss
Mark Hassell
Rose Herceg
Fraser Hopkins
Belinda Hutchinson AM
#SDCTriptych
Performance Partners
$20,000+
Jillian Broadbent AO
and Olev Rahn
Manuela Darling-Gansser
and Michael Darling
Paul McCullagh
Sandra McCullagh
(in tribute to my mum)
Karen Moses
Nelson Meers Foundation
Gretel Packer
Roslyn Packer AO
Rebel Penfold-Russell OAM
John Prescott AC
and Jennifer Prescott
The Ian Potter Foundation
The Wales Family
Foundation
Emma Zuber
Studio Partners $10,000+
Pam and Doug Bartlett
Paul Brady
and Christine Yip
Peter and Liz Brownie
Janice and Tony Burke
Peter Clemenger AO
and Joan Clemenger AO
Jade and Richard Coppleson
Crawford Family Foundation
Mike Dixon and
Dr Dee de Bruyn
Doug Hall Foundation
Tim Fairfax AC
Jane and Richard
Freudenstein
Kiera Grant
Andrew and Emma Gray
Garrick and
Evelyn Hawkins
Sarah and Robby Ingham
Key Foundation
Susan Maple-Brown and the
late Robert Maple-Brown AO
Jules Maxwell
Michael Mills
Natascha and
Matthew Milsom
Beau Neilson and Jeffrey
Simpson
Judith Neilson
Talita Schramm
Alden Toevs and Judi Wolf
and Roger Massy-Greene
John and Frances Ingham
Donna and Carl Jackson
Macquarie Group
Foundation
The Alexandra And Lloyd
Martin Family Foundation
Carina Martin
James and Daniela McMurdo
Naomi Milgrom AO and John
Kaldor AM
Erin Ostadal and
the late Billy Ostadal
peckvonhartel architects
Peter Reeve and
Jaycen Fletcher
Andrea Roberts
Penelope Seidler AM
Bianca Spender
Leslie Stern
Victoria Taylor
Mark Timmins
and Sam Smith
Turnbull Foundation
Ian Wallace and Kay
Freedman
Shemara Wikramanayake
and Ed Gilmartin
Di Yeldham
Dance Partners $2,000+
Paul Bedbrook
and Fiona Hopkins
Berg Family Foundation
Philip and Catherine Brenner
Jane Bridge
Antony Bullimore
Hilary Burton and
Craig Goodman
Dr Bruce Caldwell
Graham and Marisa
Campion
Prof Malcolm Coppleson AO
Jill Davies
Dr Michelle Deaker
Drysdale Family
Suellen and Ron Enestrom
Ian Galloway and
Linda Treadwell
Girgensohn Foundation
Bradford Gorman
and Dean Fontana
Rupert and Sarah Henry
Gabrielle Iwanow
Tina and Mark Johnson
David Jonas and
Desmon Du Plessis
Tony Jones and Julian Iiga
Brian Ladd and Brian Kelly
David Mathlin
John and Ursula Moore
Dr Gary Nicholls
and Niall Barlow
Chris Paxton
Alex Popov and
Allie Hulett
Philip and Carolyn Rossi
Christina Scala
and David Studdy
Morna Seres and Ian Hill
Peter and Victoria
Shorthouse
Ezekiel Solomon AM
Mark Stanbridge
Stephen Thatcher
Monika Tu
UBS Foundation
Eduardo Villa
Rehearsal Partners Up to
$2,000
Lenore and Ross Adamson
Antoinette Albert
John Armati OAM
and Kate Armati
Ralph Ashton
Lisa Barakat
Christine Bishop
Maxine Brenner
and Jodee Rich
Dr Catherine A Brown-Watt
Lucy Calabria
Christine and Robert
Camping
Rob Coombe
Vitek Czernuszyn
and Deborah Thomas
Mary-Lou Donnan
Jane Douglass AM
Ari and Lisa Droga
Fivex Commercial Property
Rosemary Grant
Mandy Gray
Ray Hansen
Rachelle Hofbauer
Sue Hoopmann
Andrew and Georgie Howard
Joey, Charles and
Sarah Hue-Williams
Michael Ihlein
Allen Iu and
Bernadette Walker
Christopher and Nicky Joye
Elias and Jana Juanas
Virginia Judge
Paul Kelly
Les Kennedy
Josephine Key
and Ian Breden
Joanne Killen
Skye and David Leckie
Marina and Richard Leong
Andrew and Liz Leuchars
Charlotte and Adrian
Mackenzie
Beverly Ng
Gail O’Brien
Graeme Pike
Joe and Bronte Pollard
Greeba Pritchard
Ted and Nanette Robson
Emma and Duncan
Snodgrass
Scott Spain
Jo Tait
Howard and Mary Tanner
Mike Thompson
Margaret Waller
Melissa Widner
and Andrew Dent
Donna Woodhill
Ensemble Partners Up to
$1,000
Dr Cynthia à Beckett
and Gordon Smith
Annie Aitken
Juliet Ashworth
Monica Atrash
Claire Bailey
David and Nancy Bailin
Ian Belgiorno-Zegna
Steve Bennett
Minnie Biggs
Anne Marie Birkill
and Nell Bartolo
Leila Bishara
Sarah Brasch
Patrick Burnett
Jacqui Burton
Judith Campbell
Ruth Chandler
Stephen Chase
and Colette Bailey
Michael Chisholm
Stephen O’Rourke
James Ostroburski
Dr Cecile Paris
Bree and Morgan Parker
The Peter Pan Committee
Fay Petrou
Julia Pincus and Ian
Learmonth
Pamela Renneberg
James Roberts
Martin Ross
Mark Royle
Norman R Scott
Jillian Segal AM
Greer Simpkin and David
Jowesy
David Spurgeon
Natasha Stanley
Stedmans
Ross Steele AM
Sandra Taylor
Greta Thomas
Guy Thompson
David Thomson
Irina Verenikina
Kathryn Warren
Adriana and Daniel Weiss
Brian and Rosemary White
Jane and Neill Whiston
Renae Worboys
Susan Wynne
Angela Young
2015 Pre – Professional
Year Scholarships
The Doug Hall
Foundation Scholarship
Tim Fairfax AC Scholarship
Mary Zuber Scholarship
2015 Dance Noir
Sydney Dance Company
would like to thank the 2015
Dance Noir Committee.
26—27
Co-Chairs Tina Johnson
and Peter Reeve, Pam
Bartlett, Deirdre Brennan,
Hilary Burton, Jean-Marc
Carriol, Mark Cavanagh,
Debbie Coffey, Ally
Considine, Jade Coppleson,
Vitek Czernuszyn, Alexa
Haslingden, Terry Kaljo, Paul
Kelly, Marita Leuver, Jane
McCallum, Chris Paxton and
Karin Upton-Baker; and the
many guests and auction
participants at the 2015
event for their generous
support.
Bequests
The Estate of C.R. Adamson
The Estate of Patricia
Cameron-Stewart
The Estate of Janet Fischer
The Estate of Particia Leehy
#SDCTriptych
Min Li Chong
Robert and Carmel Clark
Rita Coenen
Jo and Matt Cooper
Amanda Cooton
Davidov Partners Architects
Susanne de Ferranti
Dr Suresh de Silva
and Dr Katja Beitat
Francois Devos
and Robyn Butler
Tanya Diesel
Margot Faraci
Nicole Ferrar
Keith Findlay
Marilyn Anne Forbes
Helen Forrester
Michelle Forte
Fiona Gale
Belinda Gibson
Amber Gooley
Diane Grady AM
Rachael Haggett
Louise Hamshere
David Hardidge
Ben Harlow
Professor Margaret Harris
Alexa and David
Haslingden
Louise Iida
Teresa Johnson Ballet School
Maureen and
Keith Kerridge
Robert Kidd
Luisa Kilman
Julia King AM
Susan Kirby
Lynne Lancaster
Margaret Lederman
Maureen Lyons
Macansh Family
Dougal Maple-Brown
Doreen and Phillip Marsh
Jeffrey Mason
Jane McCallum
Helen McCarthy
Eva McNaughton
Bruce McPhee
Lopa Mehrotra
Graeme and Emma
Mendelsohn
Prue Milne
Robbie and Robert Minter
Prof Elizabeth More AM
Selene Ng
Sponsors
Government Partners
New Breed Season Supporter
Trusts & Foundations
Major Partners
Associate Partners
Government Supporters
Platinum Members
Supporters
American Tourister, Artbank, Challis &
Company, Contemporary Hotels, Pages,
Pegasus Printing, Rococo Flowers, Santa
Vittoria, Stedmans, Vitek Vodka
The contribution of our sponsors and
partners is essential to the operation of
Sydney Dance Company and the creation
of new works. We offer tailored packages of
unique partnership benefits.
Sydney Dance Company acknowledges
the valuable contribution of its sponsors
and partners and thanks them for their
commitment and generosity.
For more information, please contact:
Development Director Lizzi Nicoll on (02) 9258 4832
or email [email protected]
28—29
Roslyn
Packer
Theatre
Walsh Bay
Artistic Director
Andrew Upton
Deputy Head Electrician
Harry Clegg
Executive Director
Patrick McIntyre
Head Sound
Kevin White
Director of Programming
and Artistic Operations
Rachael Azzopardi
Board of Directors
David Gonski AC (Chairman)
The Hon. Bruce Baird AM
Jonathan Biggins
Toni Cody
John Connolly
Ann Johnson
Mark Lazberger
Patrick McIntyre
Justin Miller
Ian Narev
Gretel Packer
Daniel Petre AO
Andrew Upton
Peter Young AM
Senior Producer
Ben White
Venue Manager
Phoebe Meredith
Venue & Events Coordinator
Karly Pisano
Building Services Manager
Barry Carr
Front of House Manager
Alex Plavsic
Head of Technical
Kevin Sigley
Head Mechanist
Steve Mason
Head Fly Operator
Kane Mott
Deputy Fly Operator
Chris Fleming
#SDCTriptych
Head Electrician
Andrew Tompkins
INTRODUCING
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IN DOMESTIC BUSINESS CLASS
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* ‘The Business’ available on A330 aircraft.
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Dance
Company
2016 Season On Sale 6 October
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30—31
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