IN October Queensland Ballet announced that artistic director Li Cunxin had signed on for another four years, doubtless much to the relief of the QB board. Li succeeded François Klaus in July 2012 and in his first four years has transformed a lacklustre company into one of significant growth, steadily increasing artistic standards and apparently boundless ambition.
The achievements include introducing a young artist program; securing more State government funding that will, by 2020, boost the size of the company to 36 dancers (not including the eight young artists); performing at least one large-scale work annually in Queensland Performing Arts Centre’s 2000-seat Lyric Theatre; beefing up the senior ranks, including hiring three dancers from National Ballet of Cuba; and selling out just about every performance for every program, every year.
QB has also been successful in attracting significant private donations to the company, a happy state of affairs that tends to be attributed to Li’s networking skills and charisma. Last year the Melbourne-based Ian Potter Foundation announced a gift of $5 million, earmarked for improvements to the company’s facilities at the Thomas Dixon Centre in Brisbane’s West End (Li was a long-time Melbourne resident, working there as a stockbroker after his retirement as a principal dancer with The Australian Ballet) and in its statement regarding Li’s contract extension, QB revealed that an anonymous donor is “committed to supporting Li’s appointment over the next four years”.
There was more to come. High-profile young British choreographer Liam Scarlett, who is artist in residence at London’s Royal Ballet and has a busy international career, joins QB next year as artistic associate (he keeps his RB role). A QB representative said Scarlett’s tenure was for four years “initially”, with extension possible, and that the position is being fully funded by one private donor.
In a statement released by QB on November 4, Scarlett said the company had “a commitment to excellence and a desire to push the boundaries and that’s an exciting creative environment to work in”.
The details of the association aren’t yet clear but it is likely QB will perform one Scarlett work each year, either one made on the company or an existing ballet. In 2017 QB will stage No Man’s Land, the one-act work Scarlett made for English National Ballet’s World War I centenary program Lest We Forget in 2014.
Scarlett’s talent was identified when he was a student at the Royal Ballet School. He juggled dance-making and performing with the Royal Ballet until 2012, when he became a fulltime choreographer. He has works in the repertoires of American Ballet Theatre, New York City Ballet, Miami City Ballet and San Francisco Ballet, among other leading companies.
The introduction to QB was made when Royal New Zealand Ballet’s then artistic director, Ethan Stiefel, invited Scarlett to create a full-length Midsummer Night’s Dream for RNZB and asked QB to be a co-producer. Dream premiered in Wellington last year to wide approval – it is captivatingly musical and sensual and has a sweet sense of humour – and sold out its performances in Brisbane earlier this year.
Scarlett’s one-act abstract works have been regarded rather more favourably by leading dance critics than his narrative ballets, although his three-act Carmen, made last year to the music of Bizet for Norwegian National Ballet, must have been received well: the company is reviving it in February and March next year. RNZB took A Midsummer Night’s Dream to Hong Kong in October and gives four more performances of it in Wellington from November 25. This year’s three-act Frankenstein, however, was handed particularly stinging reviews on its London premiere in May this year. (It is a co-production with San Francisco Ballet and opens there in February.)
When I interviewed Scarlett ahead of the Dream premiere in Wellington last year, at a time he was also deep into planning for Frankenstein, he said he was “very aware I wanted to do narrative – I grew up with all these story ballets and loved them. They were my favourite to do when I was dancing. I soaked them up. But I was very aware you needed tools to do that.”
It’s those tools, or lack of them, that have come under close critical scrutiny. Scarlett’s approach is to work closely with his artistic collaborators, but not with a dramaturg. “I have been criticised for that,” he told me. “But I’ve also worked with people who have worked with a dramaturg and they’ve been criticised equally. No, I run things by people but if I want to do it, I will do it, and if I make a mistake then it’s my mistake that I will learn from eventually.”
His lengthy CV might suggest otherwise but Scarlett is only 30. He doubtless has more mistakes to make along with his successes, but his name will add lustre to QB and Queensland audiences will have the chance to see at close range the further growth of a significant choreographer.