Drawn to Dance

A Journey Through Design
Curated by David McAllister AM, Artistic Director of The Australian Ballet 2001-2020

A group of dancers relax and talk in a ballet studio.
A group of dancers relax and talk in a ballet studio.

As the longest serving Artistic Director of The Australian Ballet, David McAllister commissioned close to 40 new works for the company. His love of the creative process behind these works is demonstrated in the costume designs he personally selected to be donated to the Australian Performing Arts Collection (APAC).

Drawn to Dance pays tribute to McAllister’s extraordinary contribution to Australian dance, his role in the development of The Australian Ballet Collection and his engagement in APAC’s ongoing commitment to its preservation and display. Curated by McAllister himself, this exhibition showcases designs from The Australian Ballet Collection to present an illustrated reflection on the productions he generated for the company since 2001.

During my time as Artistic Director of The Australian Ballet I've worked with some wonderful designers. Their creative vision has been a source of inspiration for me and I’m thrilled to know their work is represented in the Australian Performing Arts Collection. It’s a joy to be able to share these designs with you and re-visit some of the works I’ve introduced to our repertoire over the last 20 years.” 
David McAllister AM

David McAllister and artists of The Australian Ballet, 2007.
Photograph by Jeff Busby.

Full view of the stage with opulent set, chandeliers and over twenty dancers in regal costumes.
Full view of the stage with opulent set, chandeliers and over twenty dancers in regal costumes.

Classics

"I have been in love with the ‘Classical’ repertoire for as long as I can remember! These ballets are the ones that make young dancers and the ‘young at heart’ ballet lovers joyfully flock to the theatre over successive seasons. This ‘must see’ catalogue of works is what inspires the great love of our artform. They also are the works that hold the essence of what ballet dancers train to achieve each day in their classes - the elegance of line and perfection of form.

It has been a pleasure over my directorship to revive many of our heritage productions in this category but also, as this list attests to, add new productions to the catalogue to provide new insights into this wonderous canon of ballets."

Artists of The Australian Ballet in David McAllister’s The Sleeping Beauty, 2017. Photograph by Daniel Boud.


Ballet Imperial, 2007

Choreography George Balanchine
Music Piotr Ilyich Tchaikovsky
Costume and set design Hugh Colman


Costume design by Hugh Colman for Corps de Ballet
Gift of The Australian Ballet, 2008
Australian Performing Arts Collection, Arts Centre Melbourne


"This was the first George Balanchine ballet that The Australian Ballet performed and for me it was the beginning of a love affair with Mr Balanchine’s work that has burnt brightly ever since. It was great to revive it in 2008 with vivid new designs by Hugh Colman."

Over fifteen ballerinas on stage in blue tutus, all in the same pose.

Artists of The Australian Ballet in George Balanchine's Ballet Imperial, 2007. Photograph by Jim McFarlane. © The George Balanchine Trust.

Artists of The Australian Ballet in George Balanchine's Ballet Imperial, 2007. Photograph by Jim McFarlane. © The George Balanchine Trust.


The Sleeping Beauty, 2005

Choreography Stanton Welch AM
Music Piotr Ilyich Tchaikovsky
Costume and set design Kristian Fredrikson


Costume for Canarie Fairy
Designed by Kristian Fredrikson
Photograph courtesy of The Australian Ballet


"This production was the last designed by Kristian Fredrikson who had such a major influence on the ‘design’ landscape at The Australian Ballet. It also completed a journey which began with Dame Peggy Van Praagh who commissioned him in 1964 to design his first work for the company - Aurora’s Wedding. It was a great joy to commission Stanton Welch for the first time after having danced in so many of his ballets."

A dancer in white leaps across the stage with both legs outstretched. Others look on from the background.

Leanne Stojmenov as Canarie Fairy in Stanton Welch’s The Sleeping Beauty, 2009. Photograph by Jim McFarlane.

Leanne Stojmenov as Canarie Fairy in Stanton Welch’s The Sleeping Beauty, 2009. Photograph by Jim McFarlane.


The Nutcracker, 2007

Choreography Peter Wright, Lev Ivanov, Vincent Redmon
Music Piotr Ilyich Tchaikovsky
Costume and set design John Macfarlane


Costume detail for the Sugar Plum Fairy
Designed by John Macfarlane
Photograph courtesy of The Australian Ballet


"Fifteen years after the premiere of Graeme Murphy’s landmark Nutcracker: The Story of Clara, I knew it was time to add a more ‘yuletide’ production to the repertoire. There was only one production that I wanted and that was Peter Wright’s 1990 version that he created for the Birmingham Royal Ballet with designer John Macfarlane. I still marvel that we made it happen and are the only other company on the globe who have this magical production."

A dancer on stage reaches toward a large Christmas tree.

Benedicte Bemet as Clara in Peter Wright’s The Nutcracker, 2019. Photograph by Kate Longley.

Benedicte Bemet as Clara in Peter Wright’s The Nutcracker, 2019. Photograph by Kate Longley.


Swan Lake, 2012

Choreography Stephen Baynes
Music Piotr Ilyich Tchaikovsky
Costume and set design Hugh Colman


Costume design by Hugh Colman for Odette
Gift of The Australian Ballet, 2012
Australian Performing Arts Collection, Arts Centre Melbourne


"After a decade of taking Graeme Murphy’s Swan Lake around the globe, I knew we also needed a production that would revive the original intention of this great classic. Both are such important works for The Australian Ballet as they both celebrate the work which began our company back in 1962. Stephen Baynes and Hugh Colman delivered in this classic production."

Three rows of ballerinas posing in perfect unison, wearing white tutus.

Artists of The Australian Ballet in Stephen Baynes' Swan Lake, 2012. Photograph by Jeff Busby.

Artists of The Australian Ballet in Stephen Baynes' Swan Lake, 2012. Photograph by Jeff Busby.


The Sleeping Beauty, 2015

Choreographer Marius Petipa
Production & additional choreography David McAllister AM
Music Piotr Ilyich Tchaikovsky
Costume and set design Gabriela Tylesova


Costume design by Gabriela Tylesova for Carabosse
Gift of The Australian Ballet, 2015
Australian Performing Arts Collection, Arts Centre Melbourne


"Creating this production was the closest I ever came to experiencing that high you get from being a performer. It was a labour of love and one that I shared with my fellow creatives, Gabriela Tylesova (costume and set designer), Jon Buswell (lighting designer), Lucas Jervies (dramaturge) and Nicolette Fraillon (music director). But most of all it was the talent of the company that brought this ballet to life."

Dancer in dramatic, black feathered dress with four dancers dressed as mice surround her.

Lynette Wills as Carabosse in David McAllister's The Sleeping Beauty, 2015. Photograph by Jeff Busby.

Lynette Wills as Carabosse in David McAllister's The Sleeping Beauty, 2015. Photograph by Jeff Busby.

Pencil drawing of a ballerina posing in a blue tutu with yellow accents.
Yellow and flesh-toned unitard, with transparent overdress and gold neckpiece and crown, on a mannequin.
Close up of ballet costume with beading and tulle.
Drawing of a ballerina in a white lacy tutu posing in front of a blue background.
Drawing of a woman in a costume of long, black feathers. A thorned branch and an owl in flight are nearby.
Set of three drawings of dancers in coloured tutus.

Costume designs by Gabriela Tylesova for The Sleeping Beauty, 2015. Right & left, Courtesy of The Australian Ballet. Centre, Gift of The Australian Ballet, 2015. Australian Performing Arts Collection, Arts Centre Melbourne.

Drawing of dancer in yellow tutu.

Costume design by Gabriela Tylesova for The Sleeping Beauty, 2015. Courtesy of The Australian Ballet.

The Sleeping Beauty, 2015 (David McAllister). Venue: State Theatre, Arts Centre Melbourne. Orchestra: Orchestra Victoria. © 2015 Foxtel Arts & The Australian Ballet. Distributed by ABC Commercial.

The Sleeping Beauty, 2015 (David McAllister). Venue: State Theatre, Arts Centre Melbourne. Orchestra: Orchestra Victoria. © 2015 Foxtel Arts & The Australian Ballet. Distributed by ABC Commercial.

Female dancer in white full gown with long train billowing behind leans into a male dancer in a dinner suit.

Three drawings of dancers wearing neutral, textured costumes . Nearby samples of fabric.

Costume designs by Akira Isogawa for Romeo and Juliet, 2011. Gift of The Australian Ballet, 2012. Australian Performing Arts Collection, Arts Centre Melbourne.

Drawing of a dancer wearing a strapless, pale blue, ruched shift dress and pointe shoes. Nearby sample of ruched fabric.

Costume design by Akira Isogawa for Romeo and Juliet, 2011. Gift of the Australian Ballet, 2012. Australian Performing Arts Collection, Arts Centre Melbourne.

Re-imaginings

"Since the beginning of my artistic directorship commissioning of Graeme Murphy to create his version of Swan Lake, there began a desire to re-imagine some of the great ‘ballet stories’ to reflect the twenty-first century world we now live in. It is always a challenging brief and the risks are equal to the rewards when you take that artistic leap. Great stories are the key, and much creativity and imagination to transcribe those stories into new and believable surroundings.

Reinvention is a hallmark of great art. We see this in each creative artform, where different generations of artists, inspired by the work of their predecessors, create new awakenings of these works. It has been a huge pleasure to facilitate this over the past 20 years and ride the inspiration ‘wave’ with these exciting creators who have added such colour to the company’s repertoire."

Simone Goldsmith and Steven Heathcote in Graeme Murphy’s Swan Lake, 2002. Photograph by Jeff Busby.


Swan Lake, 2002

Choreography Graeme Murphy AO
Creative Associate Janet Vernon AM
Music Piotr Ilyich Tchaikovsky
Costume and set design Kristian Fredrikson


Costume design by Kristian Fredrikson for Baroness von Rothbart
Gift of The Australian Ballet, 2002
Australian Performing Arts Collection, Arts Centre Melbourne


"There is little that has not already been said about this production. I was blessed to have this as my first commission and everything about its creation was joyous. I learnt so much as an inexperienced first time Artistic Director, to follow your ‘gut’ and be bold. It has been a joy to work with Graeme Murphy and Janet Vernon over so many years. I have gained such great wisdom from them both."

Over twenty ballet dancers in white dresses form a circle around a central dancer.

Artists of The Australian Ballet in Graeme Murphy's Swan Lake, 2002. Photograph by Jeff Busby.

Artists of The Australian Ballet in Graeme Murphy's Swan Lake, 2002. Photograph by Jeff Busby.


Raymonda, 2006

Choreography Stephen Baynes
Music Aleksandr Konstantinovich Glazunov
Costume design Anna French
Set design Richard Roberts


Costume design by Anna French for the title role of Raymonda
Gift of The Australian Ballet, 2007
Australian Performing Arts Collection, Arts Centre Melbourne


"I have loved this music since the first time I heard it. When Stephen Baynes mentioned in passing his interest in Raymonda, I pretty much commissioned him on the spot. The Grace Kelly idea I think was inspired and the designs by Anna French and Richard Roberts captured her glamour and the era. The cast with Kirsty Martin, Steven Heathcote and Damien Welch in the main roles was as if they came from central casting."

A woman in a strapless evening gown reclines while two men in formal wear surround her.

Damien Welch as Adam Drake, Kirsty Martin in the title role and Steven Heathcote as Prince Jean de Brienne in Stephen Baynes' Raymonda, 2006. Photograph by Justin Smith.

Damien Welch as Adam Drake, Kirsty Martin in the title role and Steven Heathcote as Prince Jean de Brienne in Stephen Baynes' Raymonda, 2006. Photograph by Justin Smith.


Scheherazade, 2006

Choreography Mikhail Fokine
Music Rimsky-Korsakov, Nikolai Andreyevich
Costume and set design Gabriela Tylesova


Costume design by Gabriela Tylesova for the Chief Eunuch
Courtesy of David McAllister


"I met Gabriela Tylesova soon after she graduated from National Institute of Dramatic Arts and it took a little while before I had the right project to work with her on, but the Ballets Russes Project provided that. Scheherazade when it premiered in 1910, inspired both fashion and design at the time, and I wanted someone to ‘amaze’ the audience in the same way for this re-staging. I loved these designs and they certainly were like nothing else The Australian Ballet audiences had seen, and it led to working with Gabriela on The Sleeping Beauty, which was magic."

Man on stage in fantasy king style costume, a woman kneels and holds his hand. Fantasy style guards stand behind.

Olivia Bell, Steven Heathcote and artists of The Australian Ballet in Mikhail Fokine's Scheherazade, 2006. Photograph by Jim McFarlane.

Olivia Bell, Steven Heathcote and artists of The Australian Ballet in Mikhail Fokine's Scheherazade, 2006. Photograph by Jim McFarlane.


Firebird, 2009

Choreography Graeme Murphy AO
Creative Associate Janet Vernon AM
Music Igor Fyodorovich Stravinsky
Costume and set design Leon Krasenstein


Costume design by Leon Krasenstein for the title role of Firebird
Gift of The Australian Ballet, 2009
Australian Performing Arts Collection, Arts Centre Melbourne


"I really wanted Graeme Murphy to do something for the Ballets Russes Project and Firebird was the perfect ballet. He stripped away a lot of the mime and along with Leon Krasenstein set this production in a post-apocalyptic world with the most beautiful array of giant eggs. Lana Jones was the Firebird and her performance along with Kevin Jackson and Chengwu Guo was dazzling."

Dancer in red feathered costume sits atop a round stone, her arms outstretched with feathered hands.

Lana Jones in Graeme Murphy’s Firebird, 2009. Photograph by Alex Makeyev.

Lana Jones in Graeme Murphy’s Firebird, 2009. Photograph by Alex Makeyev.


Romeo and Juliet, 2011

Concept and Choreography Graeme Murphy AO
Creative Associate Janet Vernon AM
Music Sergei Prokofieff
Costume design Akira Isogawa
Set design Gerard Manion


Costume design by Akira Isogawa for Romeo
Gift of The Australian Ballet, 2012
Australian Performing Arts Collection, Arts Centre Melbourne


"This production took the Shakespeare story on a very new path. As always, the risks were great but there some beautifully memorable moments and the performances of Madeleine Eastoe and Kevin Jackson were mesmeric."

Female dancer enpointe with left leg raised to the sky is supported by male dancer, both in white costumes.

Kevin Jackson and Madeleine Eastoe in Graeme Murphy’s Romeo and Juliet, 2011. Photograph by Jeff Busby.

Kevin Jackson and Madeleine Eastoe in Graeme Murphy’s Romeo and Juliet, 2011. Photograph by Jeff Busby.


Cinderella, 2013

Choreography Alexei Ratmansky
Music Sergei Prokofieff
Costume and set design Jérôme Kaplan


Costume design by Jérôme Kaplan for the Stepmother
Gift of The Australian Ballet, 2015
Australian Performing Arts Collection, Arts Centre Melbourne


"I knew after working with Alexei Ratmansky in 2009 on Scuola di Ballo that he would do a wonderful Cinderella, but the production that he and Jérôme Kaplan delivered to us was not the ‘fairytale’ fantasy that I was expecting. After the ‘design presentation’ I knew it would be a very new vision for this story and after the first day of rehearsals I had the belief it would be extraordinary. I was certainly not disappointed! This production tugs on the heart strings, makes you laugh and brings what is a very beautiful and haunting score to life!"

Two ballet dancers with tall hairstyles pose in a blue and a pink rounded dress and knee length socks with pointe shoes.

Ingrid Gow and Halaina Hills in Alexei Ratmansky’s Cinderella, 2013. Photograph by Jeff Busby.

Ingrid Gow and Halaina Hills in Alexei Ratmansky’s Cinderella, 2013. Photograph by Jeff Busby.

Pencil drawing of two female dancers in a dress with fitted bodice and full skirt. They have multiple necklaces and bracelets.
Drawing of a female dancer in pointe shoes and a pink, floral, strapless, knee-length dress.
Drawing of a man in red blazer, red, rounded bloomers, red boots and a red hat.
Drawing of a female dancer in an active pose wearing a costume that looks like two large, red and black feathers across her body. Her hands are also feathered.
Drawing of a dancer wearing shirt with billowing sleeves, and waistband with sword and pointe shoes. Nearby samples of fabric.
Drawing of a dancer in a long, purple overcoat with fur trim and a fur hood, wearing pointe shoes.

Swan Lake, 2008 (Graeme Murphy). Venue: Joan Sutherland Theatre, Sydney Opera House. Orchestra: Australian Opera and Ballet Orchestra (Now known as Opera Australia Orchestra). © 2008 Australian Broadcasting Corporation and The Australian Ballet. Distributed by ABC Commercial.

Swan Lake, 2008 (Graeme Murphy). Venue: Joan Sutherland Theatre, Sydney Opera House. Orchestra: Australian Opera and Ballet Orchestra (Now known as Opera Australia Orchestra). © 2008 Australian Broadcasting Corporation and The Australian Ballet. Distributed by ABC Commercial.

Twelve dancers in minimalistic leotards leaping and en pointe.
Four dancers in minimalistic leotards leaping and en pointe.

International Commissions

"Over the history of The Australian Ballet, all seven artistic directors have sought out the most talented and ‘in demand’ dance makers from around the globe to work with our company. Thanks to this curiosity and the institution’s distinguished reputation, the company has had many original works created for us by some of the world’s most renowned choreographers.

It has been a great thrill to have added these new commissions during my stewardship, and to enable the dancers of the early twenty-first century to work with such famous names as Alexei Ratmansky, Wayne McGregor and Krzysztof Pastor to name just a few."

Artists of The Australian Ballet in Wayne McGregor's Dyad 1929, 2009. Photograph by Jeff Busby.


Symphonie Fantastique, 2007

Choreography Krzysztof Pastor
Music Hector Berlioz
Costume and set design Tatyana van Walsum


Costume design by Tatyana van Walsum
Gift of The Australian Ballet, 2007
Australian Performing Arts Collection, Arts Centre Melbourne


"This was one of the famous ‘Symphonic Ballets’ created originally by Leonide Massine in the 1930s. I was keen to have a new production for our Ballets Russes Project and had met Krzysztof Pastor in the Netherlands where he was a resident choreographer with the Het National Ballet. Nicolette Fraillon had also worked with Krzysztof and so he was very excited to come and make this work with us. The designs and dramatic projections by Tatyana van Walsum were as monumental as the score. It was a thrill to also stage it in Paris as part of our tour in 2008."

Female dancer in red dress leaps while supported by a male dancer. Dancers in red dresses perform behind them.

Robert Curran, Kirsty Martin and artists of The Australian Ballet in Krzysztof Pastor’s Symphonie Fantastique, 2007. Photograph by Jim McFarlane.

Robert Curran, Kirsty Martin and artists of The Australian Ballet in Krzysztof Pastor’s Symphonie Fantastique, 2007. Photograph by Jim McFarlane.


Semele, 2008

Choreography Matjash Mrozewski
Music Gerard Brophy
Costume and set design Adam Gardnir


Costume design by Adam Gardnir for Zeus and Juno
Gift of The Australian Ballet, 2008
Australian Performing Arts Collection, Arts Centre Melbourne


"I had met Matjash Mrozewski on a trip to Canada and after seeing him rehearse one of his works, wanted to get him to create for us in Australia. Semele was another of our Ballets Russes Project commissions and, like Balanchine’s Apollo, brought to life a Greek myth. Matjash and designer Adam Gardnir created a very beautiful twenty-first century tale of impossible love."

A male and a female dancer hold a huge red piece of fabric and it billows around them.

Robert Curran and Juliet Burnett in Matjash Mrozewski’s Semele, 2008. Photograph by Jeff Busby.

Robert Curran and Juliet Burnett in Matjash Mrozewski’s Semele, 2008. Photograph by Jeff Busby.


The Possibility Space, 2008

Choreography Nicolo Fonte
Music Ross Edwards
Costume and set design Markus Pysall


Vivienne Wong and Paul Knobloch
Photograph by Jeff Busby
Courtesy of The Australian Ballet


"Choreographer Nicolo Fonte had staged his work Almost Tango in 2004, which was the path for him to then come and create for the company. This happened in 2008 when he created Possibility Space as part of our Ballets Russes Project. With a commissioned score by Ross Edwards and monumental set and electric blue costumes by Markus Pysall, this was a thrilling ballet which I always wanted to revive."

Male and female dancers in blue costumes perform on stage, the backdrop is dark with glowing white lines.

Artists of The Australian Ballet in Nicolo Fonte’s The Possibility Space, 2008. Photograph by Jeff Busby.

Artists of The Australian Ballet in Nicolo Fonte’s The Possibility Space, 2008. Photograph by Jeff Busby.


Scuola di Ballo, 2009

Choreography Alexei Ratmansky (after Leonide Massine)
Music Luigi Boccherini
Costume and set design Hugh Colman


Costume design by Hugh Colman for Professor Rigadon
Gift of The Australian Ballet, 2009
Australian Performing Arts Collection, Arts Centre Melbourne


"Alexei Ratmansky created a little comic gem with Scuola di Ballo showing his complete mastery of the ballet narrative. Funny ballets are SO difficult to pull off and along with Hugh Colman’s refined and immaculate designs this delicate work was a personal favourite."

Two men grasp a woman's arms, all are in Georgian costumes.

Artists of The Australian Ballet in Alexei Ratmansky’s Scuola di Ballo, 2009. Photograph by Jim McFarlane.

Artists of The Australian Ballet in Alexei Ratmansky’s Scuola di Ballo, 2009. Photograph by Jim McFarlane.


Dyad 1929, 2009

Choreography Wayne McGregor
Music Steve Reich
Costume design Moritz Junge
Stage concept Wayne McGregor & Lucy Carter


Costume design by Moritz Junge
Gift of The Australian Ballet, 2009
Australian Performing Arts Collection, Arts Centre Melbourne


"This ballet has a special place in my heart. Working with Wayne McGregor was a gift for us all and this ballet a masterwork. Wayne has a force and intelligence which is sometimes scary in its intensity, but he is such a wonderful human being and the experience is always transformative. Also being a part of our Ballets Russes Project the designs by Wayne, Lucy Carter and Moritz Junge, draw from this period of dance in the most innovative and contemporary way."

Male and female dancer in pointe shoes grasp hands. The woman bends her torso over. The backdrop is pale grey with large dots.

Leanne Stojmenov and Remi Wortmeyer in Wayne McGregor’s Dyad 1929, 2009. Photograph by Jim McFarlane.

Leanne Stojmenov and Remi Wortmeyer in Wayne McGregor’s Dyad 1929, 2009. Photograph by Jim McFarlane.

Drawing of a red halter-neck dress with handkerchief style skirt. Fabric sample and photos of dress attached.
Painting of a man in a long red robe embracing a woman in a black leotard and pointe shoes.
A male and a female dancer, both in electric blue costumes, their arms and legs bent in unison.
Drawing of a man in a long, floral waistcoat, bow tie, leggings and buckled shoes.
Pencil sketch of a dancer in a black and white geometric unitard.
Pencil design drawings of male and female bodies in modernist, geometric leotards and unitards.

Costume designs by Moritz Junge for Dyad 1929, 2009. Gift of The Australian Ballet, 2009. Australian Performing Arts Collection, Arts Centre Melbourne

Costume design by Moritz Junge for Dyad 1929, 2009. Gift of The Australian Ballet, 2009. Australian Performing Arts Collection, Arts Centre Melbourne

Dyad 1929, 2009 (Wayne McGregor). Venue: Joan Sutherland Theatre, Sydney Opera House. Orchestra: Opera Australia Orchestra © 2013 The Australian Ballet. Distributed by ABC Commercial. Double Sextet by Steve Reich is used by permission of Hal Leonard Australia Pty. Ltd, exclusive agents for Boosey & Hawkes Music Publishers Ltd.

Dyad 1929, 2009 (Wayne McGregor). Venue: Joan Sutherland Theatre, Sydney Opera House. Orchestra: Opera Australia Orchestra © 2013 The Australian Ballet. Distributed by ABC Commercial. Double Sextet by Steve Reich is used by permission of Hal Leonard Australia Pty. Ltd, exclusive agents for Boosey & Hawkes Music Publishers Ltd.

Group of eleven dancers all walking in unison to the left.
Drawings of two male characters and one female. The female has a cloak or blanket over her head, one of the males is in a regal jacket and a crown.

Costume designs by Angus Strathie for Wild Swans, 2003. Gift of The Australian Ballet, 2003. Australian Performing Arts Collection, Arts Centre Melbourne.

Drawing of female character with cloak or blanket over her head.

Costume design by Angus Strathie for Wild Swans, 2003. The Australian Ballet Collection, 2003. Australian Performing Arts Collection, Arts Centre Melbourne

Australian Commissions

"Every ballet company is enlivened by the opportunity to create new works. Choreographers are the alchemists who draw from the talent in front of them and mix it into gold! Our Australian experience and culture are unique. To bring this distinctiveness to life and create works by Australian creatives, telling our stories, through our experiences, is what makes The Australian Ballet exceptional.

It has been such a thrill to have commissioned many of our brightest local artists and foster some new exciting dance makers through our Bodytorque choreographic development program. From the very first season, Dame Peggy van Praagh set about developing an authentic ‘Australian-ness’ to our company and it was an honour to add to her vision."

Artists of The Australian Ballet in Tim Harbour’s Squander and Glory, 2017. Photography by Kate Longley.


Wild Swans, 2003

Choreography Meryl Tankard
Music Elena Kats-Chernin
Costume design Angus Strathie
Set design Régis Lansac


Costume design by Angus Strathie for a Brother
Gift of The Australian Ballet, 2003
Australian Performing Arts Collection, Arts Centre Melbourne


"Meryl Tankard’s Wild Swans was a very early co-commission with the Sydney Opera House and a magical ballet based on the Hans Christian Andersen story. With designs by Angus Strathie and visual projections by Régis Lansac, it was filled with all the imagination one has come to enjoy in a Tankard work."

Eight female dancers, en pointe, wearing stiff, white, tulip shaped dresses.

Artists of The Australian Ballet in Meryl Tankard’s Wild Swans, 2003. Photograph by Régis Lansac.

Artists of The Australian Ballet in Meryl Tankard’s Wild Swans, 2003. Photograph by Régis Lansac.


Unspoken Dialogues, 2004

Choreography Stephen Baynes
Music Alfred Schnittke
Costume and set design Michael Pearce


Costume design by Michael Pearce
Gift of The Australian Ballet, 2004
Australian Performing Arts Collection, Arts Centre Melbourne


"I have always loved working with choreographer Stephen Baynes. This duet was one that was a passion piece to be the centre of our all Baynes ‘Southern Lights’ program and created on Justine Summers and Steven Heathcote. This compelling work, with designs by Michael Pearce, has gone on to become a wonderful vehicle that we have danced all over the world including London, New York, Beijing and Shanghai."

Female dancer in mauve dress en pointe with one leg outstretched, supported by a male dancer facing the other way.

Justine Summers and Steven Heathcote in Stephen Baynes’ Unspoken Dialogues, 2004. Photograph by Paul Chapman.

Justine Summers and Steven Heathcote in Stephen Baynes’ Unspoken Dialogues, 2004. Photograph by Paul Chapman.


Amalgamate, 2006

Choreography Stephen Page
Music - composition Elena Kats-Chernin, David Page
Music - composition (didgeridoo components)
Grant Nundhirribala
Costume design Jennifer Irwin
Set design Peter England


Costume design by Jennifer Irwin
Gift of The Australian Ballet, 2006
Australian Performing Arts Collection, Arts Centre Melbourne


"We commissioned this ballet to be a partner piece for the existing ballet Rites in 2006. Working with Stephen Page and Bangarra Dance Theatre was always such a joyful experience, and this was a celebration of our mutual respect and shared love. Elena Kats-Cherin and David Page created the score and Jennifer Irwin and Peter England a monumental design."

Over twenty dancers sitting on a stepped set that resembles a lurching boat.

Artists of The Australian Ballet and Bangarra Dance Theatre in Stephen Page's Amalgamate, 2006. Photograph by Jim McFarlane.

Artists of The Australian Ballet and Bangarra Dance Theatre in Stephen Page's Amalgamate, 2006. Photograph by Jim McFarlane.


Night Path, 2008

Choreography Stephen Baynes
Music Richard Mills
Costume and set design Michael Pearce


Costume design by Michael Pearce
Gift of The Australian Ballet, 2008
Australian Performing Arts Collection, Arts Centre Melbourne


"This was the piece that Stephen Baynes created as part of the Ballets Russes Project. Working with a new score by Richard Mills and with long time design collaborator Michael Pearce, it was a visually arresting and elegant piece."

A single dancer on stage, en pointe. The backdrop is a huge billowing curtain and a gnarled branch.

Laura Tong in Stephen Baynes’ Night Path, 2008. Photograph by Jeff Busby.

Laura Tong in Stephen Baynes’ Night Path, 2008. Photograph by Jeff Busby.


Narrative of Nothing, 2012

Choreography Graeme Murphy AO
Creative Associate Janet Vernon AM
Music Brett Dean
Costume design Jennifer Irwin
Stage and lighting design Damien Cooper


Jennifer Irwin with fabric design for Narrative of Nothing
Photograph by Lynette Wills
Courtesy of The Australian Ballet


"I wanted a new Murphy ballet for our fiftieth anniversary and after a succession of full evening narrative ballets, Graeme was keen to do something completely abstract. Narrative of Nothing was a joyous celebration of movement with a brand-new score from Brett Dean and designs by Jennifer Irwin and Damien Cooper."

Narrative of Nothing, 2012 (Graeme Murphy). Venue: State Theatre, Arts Centre Melbourne. Orchestra: Orchestra Victoria. © SBS/Studio and The Australian Ballet 2012. Distributed by ABC Commercial. Fire Music by Brett Dean is used by permission of Hal Leonard Australia Pty. Ltd, exclusive agents for Boosey & Hawkes Music Publishers Ltd.

Narrative of Nothing, 2012 (Graeme Murphy). Venue: State Theatre, Arts Centre Melbourne. Orchestra: Orchestra Victoria. © SBS/Studio and The Australian Ballet 2012. Distributed by ABC Commercial. Fire Music by Brett Dean is used by permission of Hal Leonard Australia Pty. Ltd, exclusive agents for Boosey & Hawkes Music Publishers Ltd.


There's Definitely a Prince Involved, 2012

Choreography Gideon Obarzanek
Music Stefan Gregory after Piotr Ilyich Tchaikovsky
Costume design Alexi Freeman
Stage concept Benjamin Cisterne, Gideon Obarzanek


Costume design by Alexi Freeman
Gift of The Australian Ballet, 2012
Australian Performing Arts Collection, Arts Centre Melbourne


"Gideon Obarzanek had done a work, Sand Siren, in the 1990s which I had danced in and I wanted him to be a part of our fiftieth anniversary celebrations. He pitched an idea to interrogate non-dancers’ understanding of the story of Swan Lake. Being that this was the first ballet the company performed, it seemed like a very cool idea that brought together a collage of sets and costumes from our archive and some original designs by Alexi Freeman."

A group of over 20 dancers on stage, clustered together with legs out-stretched. The three dancers at the front are not touching the floor.

Artists of The Australian Ballet and Chunky Move in Gideon Obarzanek’s There’s Definitely A Prince Involved, 2012. Photograph by Jeff Busby.

Artists of The Australian Ballet and Chunky Move in Gideon Obarzanek’s There’s Definitely A Prince Involved, 2012. Photograph by Jeff Busby.


Warumuk - in the dark night, 2012

Choreography Stephen Page
Music David Page
Costume design Jennifer Irwin
Set design Jacob Nash


Costume design by Jennifer Irwin for The Evening Star
Gift of The Australian Ballet, 2012
Australian Performing Arts Collection, Arts Centre Melbourne


"Created for our fiftieth anniversary, this Stephen Page work was a highlight of the celebration year and yet another chance to share the stage with Bangarra Dance Theatre, dancing to the music of David Page and surrounded by the designs of Jennifer Irwin and Jacob Nash."

One dancers stands with others curled on the stage. Backdrop resembles a giant rope.

Leanne Stojmenov and artists of The Australian Ballet and Bangarra Dance Theatre in Stephen Page's Warumuk – in the dark night, 2012. Photograph by Greg Barrett.

Leanne Stojmenov and artists of The Australian Ballet and Bangarra Dance Theatre in Stephen Page's Warumuk – in the dark night, 2012. Photograph by Greg Barrett.


Little Atlas, 2014

Choreography Alice Topp
Music Ludovico Einaudi
Costume design Alice Topp
Lighting design Jon Buswell


Rudy Hawkes, Vivienne Wong and Kevin Jackson
Photograph by Daniel Boud
Courtesy of The Australian Ballet


"Dancer Alice Topp also began her choreographic journey in the Bodytorque program, with Little Atlas being her first ‘main stage’ work. It began a collaboration with designer Jon Buswell and composer Ludovico Einaudi which has become the signature team for her creations."

Two male dancers lifting a female dancer, supporting her by the back and thighs. Her head and arms drape down so that her whole body creates a cross shape.

Kevin Jackson, Vivienne Wong and Rudy Hawkes in Alice Topp’s Little Atlas, 2016. Photograph by Daniel Boud.

Kevin Jackson, Vivienne Wong and Rudy Hawkes in Alice Topp’s Little Atlas, 2016. Photograph by Daniel Boud.


Filigree and Shadow, 2015

Choreography Tim Harbour
Music 48nord - Ulrich Muller, Siegfried Rossert
Costume design Tim Harbour
Set design Kelvin Ho


Artists of The Australian Ballet
Photograph by Jeff Busby
Courtesy of The Australian Ballet


"Tim Harbour began choreographing as part of the Bodytorque program and created a number of works for the mainstage including Halcyon and Sweedeedee. It was Filigree and Shadow in 2015 which saw his work take on a new and exciting edge. To be partnering with architect Kelvin Ho and with a commissioned score by 48nord, Filigree and Shadow marked a major new work for the repertoire."

Two dancers in an angular pose on a grey set. Other dancers stand upright.

Brodie James, Karen Nanasca and artists of The Australian Ballet in Tim Harbour’s Filigree and Shadow, 2018. Photograph by Kate Longley.

Brodie James, Karen Nanasca and artists of The Australian Ballet in Tim Harbour’s Filigree and Shadow, 2018. Photograph by Kate Longley.


Spartacus, 2018

Choreography Lucas Jervies
Music Aram Khachaturian
Costume and set design Jérôme Kaplan


Costume design by Jérôme Kaplan for the title role of Spartacus
Courtesy of The Australian Ballet


"Nicolette Fraillon and I had been looking to commission a new Spartacus and it wasn’t until Lucas Jervies ‘pitched’ his idea in 2015 that we found our choreographer. I really wanted Jérôme Kaplan to design it having talked about the project with him after Cinderella and so it was a joy to see it all come together on stage in 2018."

Eight male dancers in Roman style costumes grip onto a set piece that resembles a large stone statue of a hand.

Artists of The Australian Ballet in Lucas Jervies' Spartacus, 2018. Photograph by Jeff Busby.

Artists of The Australian Ballet in Lucas Jervies' Spartacus, 2018. Photograph by Jeff Busby.


Aurum, 2019

Choreography Alice Topp
Music Ludovico Einaudi
Costume design Alice Topp
Staging and lighting design Jon Buswell


Reference for staging and lighting design
Image courtesy of Jon Buswell


"This was the first of Alice’s longer works for TAB and was commissioned with the aid of the Nureyev Prize awarded by the Joyce Theatre in New York. Once again with the same team, Alice created a work that strongly resonated with our audiences and won great acclaim including the 2019 Helpmann Award for best new ballet. We also toured Aurum to the Joyce Theatre in New York in 2019."

A male and female dancer in the foreground, gripping hands. The backdrop resembles shattered glass with human shadows.

Kevin Jackson, Leanne Stojmenov and artists of The Australian Ballet in Alice Topp’s Aurum, 2018. Photograph by Jeff Busby.

Kevin Jackson, Leanne Stojmenov and artists of The Australian Ballet in Alice Topp’s Aurum, 2018. Photograph by Jeff Busby.


Squander and Glory, 2020

Choreography Tim Harbour
Music Michael Gordon
Costume design Tim Harbour
Set design
 Kelvin Ho


Lucien Xu
Photograph by Kate Longley
Courtesy of The Australian Ballet


"Squander and Glory was the follow up work to Filigree and Shadow by Tim Harbour once again with Kelvin Ho in the design ‘chair’. It was another sleek and dynamic piece which was to be seen again in 2020."

Male and female dancer on stage with legs outstretched. The backdrop is a huge mirror.

Kevin Jackson and Vivienne Wong in Tim Harbour’s Squander and Glory, 2017. Photograph by Jeff Busby.

Kevin Jackson and Vivienne Wong in Tim Harbour’s Squander and Glory, 2017. Photograph by Jeff Busby.


Logos, 2020

Choreography Alice Topp
Music Ludovico Einaudi
Costume design Alice Topp
Set design Jon Buswell


Chris Rogers-Wilson and Benedicte Bemet
Photograph by Lynette Wills
Courtesy of The Australian Ballet


"The follow up work to AurumLogos was another hit for Alice Topp and her collaborators. Although it was only performed three times before becoming a casualty of the COVID-19 shut down, it enjoyed another strong reaction from the audiences who were able to enjoy its truly theatrical images. I am sure this will be seen again in the future."

Silhouettes of two people with smoke effect lit up behind them.

Chris Rogers-Wilson and Benedicte Bemet in Alice Topp’s Logos, 2020. Photograph by Lynette Wills.

Chris Rogers-Wilson and Benedicte Bemet in Alice Topp’s Logos, 2020. Photograph by Lynette Wills.


The Happy Prince, 2020

Based on the story by Oscar Wilde
Choreography Graeme Murphy AO
Creative Associate Janet Vernon AM
Music Christopher Gordon
Set and costume design Kim Carpenter


Costume design by Kim Carpenter for The Reed
Courtesy of Kim Carpenter


"My final Murphy commission has had a tale of its own to tell. After three attempts, we finally made it to the world premiere in February 2020, only to do six performances of the 40 scheduled in this COVID-19 affected year. They were six wonderful shows with vivid and lively designs by Kim Carpenter and a joyous score by Christopher Gordon."

Fourteen dancers on stage all holding hands and pulling in different directions. The backdrop resembles a picture book.

Artists of The Australian Ballet in Graeme Murphy's The Happy Prince, 2020. Photograph by Jeff Busby.

Artists of The Australian Ballet in Graeme Murphy's The Happy Prince, 2020. Photograph by Jeff Busby.

Pencil drawing of a man wearing a beanie with long side flaps with pom-poms, a t shirt, shorts and large furry shoes.
Drawing of a woman in pointe shoes and a purple slip style dress. Nearby two fabric swatches.
Drawing of a male dancer wearing only a loincloth that has a long train.
Drawing of front view and back view of a dancer in a grey, knee-length dress with one shoulder strap. Four fabric swatches.
Woman holding up a piece of white material with a grey and blue geometric design printed on it.
Abstract design in black ink resembling a symmetrical inkblot.
Drawing of a woman in a sparkly, fitted evening gown with lines running through it.
Three dancers, the woman stands at the front in a black leotard with ribbon design.
Six dancers in black on stage. Lit from behind so they are almost in shadow.
Pencil drawing of a man posing in gladiator style costume.
Design drawing with grey background and white and red lines that resemble shattered glass.
Male dancer caught in mid air with both legs outstretched in front of him and arm raised.
A man and woman face eachother with noses appearing to touch. On stage it appears to be raining.
Colour drawing of a nymph or fairy in yellow and green with a tall, curled hat and wide sleeves.

Warumuk – in the dark night, 2012 (Stephen Page). Venue: State Theatre, Arts Centre Melbourne. Orchestra: Orchestra Victoria. With artists of The Australian Ballet and Bangarra Dance Theatre. © 2012 SBS/Studio and The Australian Ballet. Distributed by ABC Commercial. Warumuk (In The Dark Of The Night). Composed by David Page. Licensed by Sony/ATV Music Publishing (Australia) Pty Ltd.

Warumuk – in the dark night, 2012 (Stephen Page). Venue: State Theatre, Arts Centre Melbourne. Orchestra: Orchestra Victoria. With artists of The Australian Ballet and Bangarra Dance Theatre. © 2012 SBS/Studio and The Australian Ballet. Distributed by ABC Commercial. Warumuk (In The Dark Of The Night). Composed by David Page. Licensed by Sony/ATV Music Publishing (Australia) Pty Ltd.

Twelve dancers on stage, the men have a playing card motif on their bodysuits, the women have skirts in the shape of diamonds, hearts, clubs and spades.
Male dancer in silver pants and beaded top poses on stage near a man in a tuxedo.

Jarryd Madden and Adam Bull in John Neumeier’s Nijinsky, 2016. Photograph by Jeff Busby.

Twelve dancers on stage, the men have a playing card motif on their bodysuits, the women have skirts in the shape of diamonds, hearts, clubs and spades.
Male dancer in silver pants and beaded top poses on stage near a man in a tuxedo.

Jarryd Madden and Adam Bull in John Neumeier’s Nijinsky, 2016. Photograph by Jeff Busby.

International Works

"In these past 58 years The Australian Ballet has amassed an enviable stable of some of the finest ballet repertoire in the world. We have just about every notable choreographer represented in our catalogue of over 250 ballets. I was so pleased to be able to add to this list during my directorship and bring some of the current masterworks seen on the world stage to Australia.

In keeping with the evolving realities of the global ballet scene, it has also been wonderful to engage in a number of co-commissions with ballet companies from around the world. This new phenomenon has allowed us to grow the pool of annual new works in the repertoire and I am sure this will be a trend which we will continue to build into the future."


Artists of The Australian Ballet in Christopher Wheeldon’s Alice’s Adventures in Wonderland, 2017. Photograph by Jeff Busby.


The Silver Rose, 2010

Choreography Graeme Murphy AO
Artistic Associate Janet Vernon AM
Music Carl Vine
Costume and set design Roger Kirk​​​​


Lucinda Dunn and Ben Davis
Photograph by Wendell Teodoro
Courtesy of The Australian Ballet


"I was a little envious when the Munich State Ballet commissioned The Silver Rose from Mr Murphy. But was delighted to bring it into our repertoire in 2010 with the Art Nouveau glamour of Roger Kirk’s designs. The last scene of this ballet still brings tears to the eye."

Three performers in Georgian costumes of gold, black and white pose in front of a woman standing elevated behind them in a gold geometric dress.

Tzu Chaou Chou, Yosvani Ramos, Lucinda Dunn and Ben Davis in Graeme Murphy’s The Silver Rose, 2010. Photograph by Wendell Teodoro.

Tzu Chaou Chou, Yosvani Ramos, Lucinda Dunn and Ben Davis in Graeme Murphy’s The Silver Rose, 2010. Photograph by Wendell Teodoro.


La Bayadère , 2016

Choreographer Stanton Welch AM
Music Ludwig Minkus
Arrangement John Lanchbery
Costume and set design Peter Farmer


Artists of The Australian Ballet
Photograph by Lynette Wills
Courtesy of The Australian Ballet


"An interesting fact is that The Australian Ballet has never owned its own full-length production of La Bayadère. Ross Stretton staged it for the first time with the Makarova production hired from American Ballet Theatre. I then hired the Houston Ballet’s production by Stanton Welch in 2014. It is a very clever adaption by Stanton and has the final designs by Peter Farmer (created before his passing), who created so many productions for our company over several decades."

Ballerinas posing in rows, wearing white, lacy tutus. There is blue lighting on stage.

Artists of The Australian Ballet in Stanton Welch’s La Bayadère, 2014. Photograph by Jeff Busby.

Artists of The Australian Ballet in Stanton Welch’s La Bayadère, 2014. Photograph by Jeff Busby.


Nijinsky, 2016

Choreography John Neumeier
Music Frédéric Chopin,
Music Robert Schumann
Music Nikolai Rimsky-Korsakov
Music Dimitri Shostakovich
Costume, set and lighting design John Neumeier

Scenery and costumes courtesy of The National Ballet of Canada


Costume detail for Principal Lady
Designed by John Neumeier
Courtesy of The Australian Ballet


"Staging this ballet was a fifteen-year odyssey!
I had a huge desire to invite John Neumeier to work with the company since my first year as AD and Nijinsky was the ballet I really wanted. It happened in 2016 and it was certainly worth the wait, receiving standing ovations almost every night. John is a superstar not only as a choreographer creating hundreds of amazing works but for many, as with Nijinsky, also designing the sets and costumes as well. This was certainly an Artistic Director career highlight for me."

Over twenty ballet dancers on stage, the women lean against the men with their skirts draping down. The backdrop has huge white circles.

Kevin Jackson, Nathan Brooke and artists of The Australian Ballet in John Neumeier’s Nijinsky, 2016. Photograph by Jeff Busby.

Kevin Jackson, Nathan Brooke and artists of The Australian Ballet in John Neumeier’s Nijinsky, 2016. Photograph by Jeff Busby.


Alice's Adventures in Wonderland, 2017

The Ballet is a co-production between The Australian Ballet and The National Ballet of Japan. A production commissioned and first performed by The Royal Ballet and the National Ballet of Canada.

Choreography Christopher Wheeldon
Music Joby Talbot
Set and costume design Bob Crowley


Costume detail for Alice
Designed by Bob Crowley
Courtesy of The Australian Ballet


"Christopher Wheeldon’s Alice I believe is The Nutcracker of the twenty-first century. I was so delighted to bring this into the repertoire in 2017 in a co-production with the National Ballet of Japan (our first co-production). I am sure this phenomenal production with designs by Bob Crowley will live on for many decades to come."

Dancer in mauve party dress looking surprised and standing within a room with distorted walls and floor.

Ako Kondo in Christopher Wheeldon's Alice's Adventures in Wonderland, 2019. Photograph by Lynette Wills.

Ako Kondo in Christopher Wheeldon's Alice's Adventures in Wonderland, 2019. Photograph by Lynette Wills.


Sylvia, 2019

A co-production between Houston Ballet and The Australian Ballet

Choreographer Stanton Welch AM
Music Léo Delibes
Costume and scenic designer Jérôme Kaplan


Costume design by Jérôme Kaplan for the title role of Sylvia
Courtesy of The Australian Ballet


"I had wanted to get Stanton to create another work for the company for some time and this co-production with his company, the Houston Ballet, was the perfect vehicle. It was also a wonderful chance to work with designer Jérôme Kaplan again whose Cinderella and Spartacus had been such visual treats. Sylvia was another sumptuous feast."

Over fifteen women on stage in Roman style costumes holding bows and arrows and all marching to the right.

Artists of The Australian Ballet in Stanton Welch’s Sylvia, 2019. Photograph by Jeff Busby.

Artists of The Australian Ballet in Stanton Welch’s Sylvia, 2019. Photograph by Jeff Busby.

An elaborate gold stage set where a woman in a gold dress poses in the spotlight. Other characters look on.
A row of ballerinas posing in perfect unison, wearing white tutus.
Close up of white cotton fabric with lace edge.
Close up of a mauve skirt with scalloped edges and ruffles.
Drawing of a dancer in a gold bodice and long, straight white skirt and trailing while scarf.

Cinderella, 2013 (Alexei Ratmansky). Venue: Lyric Theatre, Queensland Performing Arts Centre. Orchestra: Queensland Symphony Orchestra © 2016 The Australian Ballet. Distributed by ABC Commercial. Cinderella, op.87 by Sergei Prokofieff is used by permission of Hal Leonard Australia Pty. Ltd, exclusive agents for Boosey & Hawkes Music Publishers Ltd.

Cinderella, 2013 (Alexei Ratmansky). Venue: Lyric Theatre, Queensland Performing Arts Centre. Orchestra: Queensland Symphony Orchestra © 2016 The Australian Ballet. Distributed by ABC Commercial. Cinderella, op.87 by Sergei Prokofieff is used by permission of Hal Leonard Australia Pty. Ltd, exclusive agents for Boosey & Hawkes Music Publishers Ltd.

Three drawings of dancers in costume. A female dancer in pointe shoes and strapless dress, another in purple robe and a man in a three piece suit.

Costume designs by Jérôme Kaplan for Cinderella, 2013. Gift of The Australian Ballet, 2015. Australian Performing Arts Collection, Arts Centre Melbourne.

Costume design by Jérôme Kaplan for Cinderella, 2013. Gift of The Australian Ballet, 2015. Australian Performing Arts Collection, Arts Centre Melbourne.

Close up of a red corset with hands resting on the hips.
Dancer stands with her back to the audience, on a set that resembles train tracks. Her head is lowered.
A male and a female dancer lean toward eachother in an exagerrated kiss. The man wears a harlequin costume, the woman wears a regal frock.
Close up of a red corset with hands resting on the hips.
Dancer stands with her back to the audience, on a set that resembles train tracks. Her head is lowered.
A male and a female dancer lean toward eachother in an exagerrated kiss. The man wears a harlequin costume, the woman wears a regal frock.

Still to Come


Anna Karenina, 2021

Choreography Yuri Possokhov
Music Ilya Demutsky
Costume and set design Tom Pye


"While yet to be seen thanks to COVID-19, this was one of my last commissioned works for TAB, a co-production with Joffrey Ballet. After seeing Yuri Possokhov’s work at San Francisco Ballet, Nicolette Fraillon met with him to pitch an idea. He didn’t go for that, but it was where the Anna Karenina journey began! I am so looking forward to seeing the company stage this in 2021. Tom Pye’s designs along with Yuri’s choreography and Ilya Demutsky’s score are SO exquisite!"

Costume detail photograph by Kate Longley.
Scene photograph by Cheryl Mann. Courtesy of Joffrey Ballet.


Harlequinade, 2021

Choreography Marius Petipa
Music Riccardo Drigo
Costume and set design Robert Perdziola 


"This was the other ‘final’ commission. I was so excited to have this co-commission with American Ballet Theatre of Alexei Ratmansky’s reconstruction of Harlequinade in my final program. However, the global pandemic got in the way. I, along with all the ballet lovers will have to wait until 2021 to see this glorious commedia dell’arte ‘romp’ hit our stages with the superbly sumptuous designs by Robert Perdziola."

Photograph by Rosalie O'Connor. Courtesy of American Ballet Theatre.

Man standing and smiling, surrounded by eight female ballet dancers in white tulle costumes.
Man standing and smiling, surrounded by eight female ballet dancers in white tulle costumes.

A Special Thank You


Drawn To Dance would not have been possible without the continued support and generosity of David McAllister and The Australian Ballet.

Sincere thanks to:
David McAllister AM
Donna Cusack-Muller 
Robyn Fincham
Kate Longley
Fiona Tonkin
Libby Christie AM

All performance images and footage courtesy of The Australian Ballet.


David McAllister and artists of The Australian Ballet.
Photograph by Jeff Busby.

Close up of light pink fabric with beading detail.
Close up of light pink fabric with beading detail.


Acknowledgments

American Ballet Theatre
The George Balanchine Trust
Bangarra Dance Theatre
Cruickshank Cazenove Ltd
Catherine Shannon
HLA Management Pty Ltd
Hal Leonard Australia Pty Ltd
Hamburg Ballett
Houston Ballet
Joffrey Ballet
The National Ballet of Canada
Opera Australia
Orchestra Victoria
Producciones Artísticas D. Scrimgeour S.L
Queensland Symphony Orchestra
Sony/ATV Music Publishing

Australian Performing Arts Collection

Margot Anderson, Curator - Dance & Opera
Chrissy Chan, Coordinator - Rights & Licensing
Rowena Craick, Collections Information Systems Administrator
Lorén Maganja, Collections Coordinator
Jenni Meaney, Project Manager - Multimedia Content
Megan Williams, Project Manager
Alison Wishart, Head, Curatorial


Costume detail for Principal Lady from John Neumeier's Nijinsky, 2016. Photograph by Kate Longley. Courtesy of The National Ballet of Canada.

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