The Australian Ballet announces its 2020 season and seeks a new artistic director

As David McAllister announced his last full season as artistic director of The Australian Ballet, the company formally launched its search for McAllister’s successor.

McAllister retires in December of next year after 20 years at the helm but will have significant input into the 2021 program. The new director is not expected to start until perhaps April, executive director Libby Christie told me yesterday.

Advertising for the position has begun, with applications to close on October 25. The company, which currently has about 80 dancers and  stages more than 240 performances a year, seeks “an inspirational, internationally recognised person with outstanding artistic and leadership qualities”. Among the many qualities required, the candidate must “be able to demonstrate an affinity for Australian culture”.

It’s undoubtedly no coincidence that TAB’s 2020 marketing images were taken in Broken Hill, in the far west of NSW. Despite the fact that the vast majority of Australians live around the edges of the continent, few things evoke Australia more immediately here and abroad than the red dust of the outback.

TAB 2020 season_Robyn Hendricks_photo credit Georges Antoni4

TAB principal artist Robyn Hendricks. Photo: Georges Antoni

TAB begins its year in Brisbane with Graeme Murphy’s The Happy Prince, based on the Oscar Wilde story. Murphy has adapted the story with designer Kim Carpenter. Christopher Gordon has composed a new score. The Happy Prince was to have premiered this year but Murphy became ill and was unable to complete the ballet in time. The postponement had its upside: McAllister’s first big commission and arguably greatest success was Murphy’s Swan Lake (2012) and The Happy Prince brings the connection full circle. It will also be staged in Melbourne and Sydney.

The year’s other two full-length works are also new, Yuri Possokhov’s Anna Karenina, a co-production with Joffrey Ballet; and Alexei Ratmansky’s reconstruction of Petipa’s Harlequinade, a co-production with American Ballet Theatre. (Ratmansky has given it “the kiss of life”, says McAllister.) Anna Karenina opens in Sydney then goes to Melbourne and Adelaide. Harlequinade will be seen in Melbourne only next year; presumably Sydney and possibly other cities will see it in 2021.

TAB 2020 Repertoire Anna Karenina_Kevin Jackson Robyn Hendricks and Nathan Brook_photo credit Justin Ridler

Kevin Jackson, Robyn Hendricks and Nathan Brook in a promotional image for Anna Karenina. Photo: Justin Ridler

Two mixed bills will be staged in Melbourne and Sydney. Volt features a new work by resident choreographer Alice Topp and two Wayne McGregor revivals, Chroma and Dyad 1929, the latter created for TAB. McAllister breaks the mould – well, his mould – for Molto by programming a heritage work, Ashton’s A Month in the Country (1976), alongside 21st century ballets by resident choreographers Tim Harbour (Squander and Glory) and Stephen Baynes (Molto Vivace).

If McAllister was feeling melancholy about his final season launch he hid it well. Looking relaxed and happy, he said the dancers would have much to learn from a new artistic director, as he did from Ross Stretton when Stretton succeeded Maina Gielgud. “It’s an exciting and positive time for the company.”

The Australian Ballet and Queensland Ballet reveal 2019 programs

Alice Topp was yesterday named The Australian Ballet’s fourth resident choreographer, joining Stephen Baynes and Stanton Welch, (both appointed in 1995) and Tim Harbour (2014). Topp, a coryphée with the company, is the second woman to be given the title following Natalie Weir. It’s been a long time between drinks: Weir held the post for several years from 2000.

TAB_Aurum_Alice Topp_Photo Kate Longely (5)

Alice Topp, The Australian Ballet’s new resident choreographer. Photo: Kate Longley

Topp was nurtured via TAB’s Bodytorque series, as was Harbour. The choreographic development program has, unfortunately, been put on the backburner after several years of diminishing numbers of performances and participants. Bodytorque was MIA this year and is nowhere in sight in TAB’s 2019 program, announced yesterday.

Still, the Topp appointment is extremely good news and the year’s two new productions are highly enticing – well, if you live in Sydney or Melbourne. Other cities will have to wait. Stanton Welch’s production of Sylvia (a co-production with Welch’s Houston Ballet) brings to the repertoire a ballet never before performed by TAB, and Graeme Murphy collaborates with brilliant designer Kim Carpenter on The Happy Prince, based on the Oscar Wilde story. The Happy Prince will feature a new score by Christopher Gordon.

TAB artistic director David McAllister said yesterday The Happy Prince would be a “beautiful, rich, whole of family experience”. In recent years TAB has put a great deal of energy into reaching young audiences, including offering child-friendly versions of the classics in performances that run for less than an hour. In 2019 the family audience will also be lured with repeats of Peter Wright’s The Nutcracker (Melbourne, Adelaide, Sydney) and Christopher Wheeldon’s Alice’s Adventures in Wonderland (Brisbane, Melbourne).

Having been staged only in Melbourne last year, Topp’s latest work, Aurum, will be seen in Sydney in 2019 as part of the contemporary program Verve. With Topp’s appointment it’s now a resident choreographers’ triple bill: alongside Aurum is Baynes’s Constant Variants from 1997 and Harbour’s Filigree and Shadow(2015). Aurum is also slated to appear at New York’s Joyce Theatre in May.

TAB_Verve_Aurum_Kevin Jackson, Leanne Stojmenov_Photo Jeff Busby

Kevin Jackson and Leanne Stojmenov in Alice Topp’s Aurum. Photo: Jeff Busby

Les Ballets de Monte-Carlo will perform Jean-Christophe Maillot’s contemporary Swan Lake, LAC, as part of TAB’s 2019 season in Melbourne only.

Queensland Ballet has also just announced its 2019 season. The big news is the world premiere of artistic associate Liam Scarlett’s Dangerous Liaisons to the music of Saint-Saëns, co-produced with Texas Ballet Theater. Tracy Grant Lord will design, as she did so delightfully for Scarlett’s A Midsummer Night’s Dream, which QB co-produced with Royal New Zealand Ballet. (QB takes Dream to Melbourne next week.)

QB will bring back the Kenneth MacMillan Romeo and Juliet that was such a success for the company in 2014 and continues its annual Nutcracker tradition by restaging Ben Stevenson’s production for the seventh time.

A triple bill of ballets by George Balanchine, Jiří Kylián and Trey McIntyre and the very successful Bespoke program take care of contemporary ballet. Bespoke is where QB delivers a full evening of new choreography from experienced dance-makers – next year’s names are Lucy Guerin, Amy Hollingsworth and RNZB’s Loughlin Prior – while emerging choreographers will be seen in Synergy.