The Ballet Bible

Houston Ballet

In 1955, the founding members of Houston Ballet Foundation had a vision for dance in Houston: to create a resident ballet company and to start a school which would train its dancers. Houston Ballet Academy was established that same year under the leadership of Tatiana Semenova, a former dancer with the Ballet Russe de Monte Carlo. In 1969, the professional company was founded, under the direction of Nina Popova, a former dancer with the Ballet Russe de Monte Carlo and American Ballet Theatre.

Houston Ballet Foundation has seen the fulfillment of its goals: an internationally acclaimed ballet company which is now America’s fourth largest and an academy which supplies over 40 percent of the company’s dancers. The New York Times has hailed Houston Ballet as “one of the nation’s best ballet companies.” The company is comprised of 54 dancers, including artists who have won gold and silver medals at major international ballet competitions. In July 2003, the acclaimed Australian choreographer Stanton Welch assumed the leadership of Houston Ballet as artistic director. Mr. Welch, who has created ballets for many of the world’s leading companies, has choreographed eight works especially for Houston Ballet: Indigo (1999), Bruiser (2000), Tales of Texas (2004), Blindness (2004), Bolero (2004), Nosotros (2005), Brigade (2006) and a spectacular new staging of Swan Lake (2006).

From 1976-2003, Englishman Ben Stevenson, O.B.E., a former dancer with Britain’s Royal Ballet and English National Ballet, served as artistic director of Houston Ballet. He established a core of permanent choreographers whose works have greatly enriched the company’s repertory. In 1989, Sir Kenneth MacMillan joined the company as artistic associate and Christopher Bruce was named resident choreographer. Sir Kenneth worked with the company from 1989 until his death in 1992, setting five of his pieces on Houston Ballet dancers. Mr. Bruce, who currently holds the title of associate choreographer, has set ten works on the company, including four pieces created especially for Houston Ballet. In March 1995, Trey McIntyre, one of the most talented young dance makers in the country, assumed the position of choreographic associate. Mr. McIntyre has created seven world premieres for the company, including his first full-length production of Peter Pan.

In 1984, a newly renovated dance facility was inaugurated to further the excellence of balletic training and to accommodate the growth of the company and its academy. In 1987, the company moved into its new performance space, the magnificent Wortham Theater Center, a state-of-the-art facility in which the company currently performs over 75 performances seven months a year.

Throughout its extraordinary growth period, Houston Ballet’s operating expenses have grown from less than $1 million in 1975 to over $16 million today. In May 1987, the company launched an ambitious endowment drive. Houston Ballet’s endowment stands at over $60 million, as of April 2007, making it one of the largest endowments of any dance company in the United States.

Under the leadership of managing director Cecil C. Conner since 1995, Houston Ballet has also taken the lead in arranging collaborations with major American ballet companies to nurture the creation of new major productions, among them Dracula (1997) with Pittsburgh Ballet Theatre (PBT); The Snow Maiden (1998) and The Pied Piper (2002) with American Ballet Theatre; Cleopatra (2000) with PBT and Boston Ballet; The Firebird (2001) with the National Ballet of Canada; and Carnival of the Animals (2007) with Pennsylvania Ballet.

Through hard work and dedication, Houston Ballet Foundation has ensured Houston Ballet’s place as a major cultural asset in the community and as one of the leading ballet companies in the world. The company has toured extensively to critical praise in Europe, the United Kingdom, Asia, Canada, and in cities throughout the United States. In July 1995, Houston Ballet was the first full American ballet company invited by the Chinese government to tour the People’s Republic of China. An estimated 500 million people witnessed Houston Ballet’s production of Romeo and Juliet when the company’s opening night performance was telecast live on Chinese television. Over the last ten years, the company has emerged as one the most effective international ambassadors for the City of Houston, performing in London, New York, Hong Kong, Los Angeles, Toronto, Montreal, The Kennedy Center in Washington, D.C., and at the Bolshoi Theater in Moscow.

Atlanta Ballet

Atlanta Ballet was founded seven decades ago by dance visionary Dorothy Alexander (1904-1986). Miss Dorothy had a dream of bringing quality ballet to the Atlanta community. The result was the Dorothy Alexander Dance Concert Group—the first step in the regional ballet movement that swept the nation. Upon gaining professional status in 1967, the company was renamed Atlanta Ballet. Today, under the artistic leadership of John McFall, Atlanta Ballet is the oldest professional dance company in America, the largest self-supported arts organization in Georgia and official Ballet of Georgia.

Atlanta Ballet’s eclectic repertoire spans the history of ballet; highlighted by the most beloved classics and the most inventive originals. Although a renowned leader in the promotion and education of dance, Atlanta Ballet’s roots have been firmly grounded in the community and playing a vital role in the city’s cultural growth and revitalization.

The Company has also served as an ambassador for Atlanta nationally and internationally, performing around the globe-from the stages of Taipei in Taiwan to the Presidential Palace and the Sejong Cultural Arts Center in Seoul, Korea. In 1996, the Company performed during the Olympic Arts Festival/Cultural Olympiad and in 1999 Atlanta Ballet debuted in London performing John McFall’s enchanting Peter Pan as the centerpiece of Royal Festival Hall’s millennium celebration.

In 1958, Miss Dorothy invited Robert Barnett, a soloist with the acclaimed New York City Ballet and a protégé of George Balanchine, to join the Company as a principal dancer. Upon her retirement in 1963, Barnett was named artistic director and introduced many Balanchine masterworks into the repertoire including The Nutcracker. For more than 30 years Barnett expanded Miss Dorothy’s dream of excellence.

John McFall became the Ballet’s third artistic director in 1994. McFall’s imagination and innovative vision have brought contemporary and modern dance premieres, numerous new full-length ballets and several world premiere productions to Atlanta. His pioneering spirit has inspired collaborations between Big Boi of OutKast, Indigo Girls, The Red Clay Ramblers, the New Birth Missionary Baptist Church Choir and the Michael O’Neal singers..

McFall has created an ensemble company of extraordinary professional dancers from every corner of the world including, Uraguay, Taiwan, China, Mongolia, South Africa, Canada, and the United States. McFall is eager to provide the country’s most innovative choreographers including Christopher Hampson, Laurie Stallings and Violette Verdy with an artistic home, while exposing Georgia audiences to exciting new works.

In 1996, Atlanta Ballet opened the Centre for Dance Education, dedicated to nurturing young dancers while providing an outlet for adults to express their creativity though different courses. The Centre offers classes for children as young as four, an acclaimed pre-professional division and a spectrum of colorful dance classes ranging from modern and jazz to swing and hip-hop. Students enrolled in the Centre program enjoy opportunities to perform with the professional Company. Students receive first priority in casting for roles in the Nutcracker as well as other productions.

The Centre for Dance Education also prides itself on its renowned community outreach programs. School programs have increased the spirit and grades of thousands of metro Atlanta school children. The Centre has been a tireless leader of dance education.

Through endeavors such as these, Atlanta Ballet continues Miss Dorothy’s vision. Atlanta Ballet commitment to dance education and performance has inspired by expressing its commitment to share and educate Atlanta the empowering joy of dance with audiences everywhere.

Ballet Austin

When Ballet Austin was founded in 1956 as the Austin Ballet Society, it was a civic, volunteer organization with a very different vision than that of the current company. The Society, which was led by a community-based Board of Directors, only offered ballet classes and performance opportunities for senior-level students. It was not until 1982, when the Company was incorporated and renamed Ballet Austin that it achieved professional status, under the leadership of Eugene Slavin and Alexandra Nadal. In 1989, Lambros Lambrou was appointed Artistic Director bringing with him new resources, broader expertise and an expanded artistic vision. Under Mr. Lambrou, the Company grew from 14 dancers to 24 professional dancers recruited from across North America and Europe.

The year 2000 marked a turning point for Ballet Austin. Under the artistic direction of international award-winning choreographer Stephen Mills, Ballet Austin emerged as one of the nation’s premiere ballet organizations and is now well equipped to pursue the level of excellence and recognition described in the Ballet Austin vision statement. The work of Stephen Mills is produced in cities across the United States and continues to capture national attention and recognition. Most recently, Stephen Mills was commissioned by the John F. Kennedy Center for the Performing Arts Youth and Family Public Performance Series to create The Taming of the Shrew which made its world premiere in Washington, D.C. in January 2004. In January 2002, Mills led the Company to the John F. Kennedy Center for the Performing Arts to perform to sold-out houses A Midsummer Night’s Dream as part of the Center’s Youth and Family Public Performance Series. In addition to the trips to Washington, D.C., Ballet Austin tours nationally and has presented works at the Joyce Theater and in choreographic festivals in Montreal, New York, Miami and Paris.

Ballet Austin is a financially stable $4 million organization. Due to strong fiscal management and a consistently balanced budget, Ballet Austin has earned a place among the top 25 non-profits in the area by the Austin Business Journal. Professional dancers are recruited from around the country and the world, but as Executive Director Cookie Ruiz points out, not all of the best talent requires a global search. Several of the dancers have trained at the Ballet Austin Academy. Founded in 1956, the Academy continues to be a cornerstone of the organization, almost tripling its student enrollment in the last eight years. The primary focus of the academy is to provide instruction for pre-professional and professional track students. However, there are additional class options for students who choose to pursue dance as a recreational activity.

Ballet Austin’s apprentice company, Ballet Austin II, offers an opportunity for dancers to hone their skills in a professional environment. Established in 1999 by Associate Artistic Director Michelle Martin, Ballet Austin II is made up of 10 emerging artists selected through a nationwide audition process. While the dancers complete their training, they also serve as representatives for the company by providing arts education to schools and communities across Texas.

Ballet Austin is also committed to bringing the art of dance to thousands of Central Texans who might not otherwise have the opportunity to learn about ballet. Through the C.O.R.E. (Community OutReach & Education) Program, the company has developed educational initiatives that inspire students artistically and intellectually and reach 31 Central Texas school districts.

Soon, Ballet Austin will move from its longtime home of U.T. Bass Concert Hall to a new world-class performance space at the Joe R. and Teresa Lozano Long Center. Wherever the Company performs, Ballet Austin never fails to engage an audience. Ballet Austin has established itself as a world-class company that makes ballet accessible to all and enhances Austin’s reputation as a city that thrives in the arts.

Queensland Ballet

Queensland Ballet’s hallmarks are the youthful energy of its 24 dancers, its commitment to technical excellence, and the highly varied repertoire it presents.

Led by Artistic Director and Chief Choreographer, François Klaus, the Company presents approximately 100 performances each year as the State ballet company of Queensland. In addition to performances in Brisbane, the Company tours to regional Queensland, as well as making interstate and overseas visits.

Queensland Ballet’s varied repertoire ranges from popular classics and full-length story ballets to new works in a variety of dance styles by reputed international dancer-makers as well as emerging local talents.

The Company has its own Centre for Dance in the historic Thomas Dixon building in Brisbane’s West End. First built as a shoe factory in the early 1900s, the Centre offers excellent facilities which enable the Company to nurture creativity and to offer a full range of training and community access programs. 

The Company’s suite of training programs provides opportunities for dance students from as young as 11 to work with the Company and its artistic staff. The skill and experience of these artists ensures the high standard of training offered in the Junior Extension Program and Professional Year, as well as through the Queensland Dance School of Excellence, a program offered in partnership with Education Queensland. (For more information about training programs, click here)

Queensland Ballet was established in 1960 by Charles Lisner OBE. Lisner trained with Edouard Borovansky and danced with his ballet company before going to London to continue dance studies with the SadlersWellsBalletSchool. He later joined the Royal Ballet, Covent Garden. In 1953 Lisner returned to Australia to open the Lisner Ballet Academy, and in 1960, the Lisner Ballet Company. 

The Company was re-named Queensland Ballet in 1962 and became the first ballet ensemble in Australia to tour to regional centres, a commitment which continues today.

In 1974, Charles stepped down as Artistic Director and Chief Executive Officer, to be replaced by Harry Haythorne. Following Harry’s departure in 1978, founding company member and principal dancer, Harold Collins, was appointed as Artistic Director. Collins led the company until his retirement in 1997, maintaining Lisner’s commitment to the creation of uniquely Australian dance, and to forging a strong and independent company.

Collins was succeeded in 1998 by François Klaus, a respected and experienced European dancer, teacher and choreographer. Under Klaus’s artistic stewardship, Queensland Ballet has continued to prosper and grow, remaining a significant force in the Australian cultural landscape.

Birmingham Royal Ballet

50 years since the Royal Charter was first bestowed, BRB is looking forward with renewed vigour and security. Following ten years of applause for David Bintley’s creative leadership, the Company now has a wonderful home in the acclaimed new Hippodrome complex, which includes a state-of-the-art theatre, the Jerwood Centre for the Prevention and Treatment of Dance Injuries, and the Patrick Centre, a studio theatre for new work. The Company can also boast a new Chief Executive, Christopher Barron, who is presiding over a company now in a renewed position of important financial security.

Birmingham Royal Ballet was formed in 1990, when Sadler’s Wells Royal Ballet moved to Birmingham. Everyone connected with the Company proudly celebrates the versatility and flexibility of an organisation that creates challenging new work alongside the classics.

BRB is welcomed enthusiastically around the world. The Company has recently completed successful tours to the USA, Hong Kong and South Africa, and plans to increase its international profile. Barron believes audiences, both at home and overseas, hunger after the classical history of the Company, the startling energy of its new work, and the unique pool of talent it contains, on stage, in the orchestra pit and behind the scenes. The arrival of Elmhurst School for Dance in Edgbaston in 2004 is another crucial plank in the Company’s determination to nurture and retain the best young dancers in the world.

BRB certainly has a devoted and growing audience in Birmingham and beyond. Bintley is particularly appreciative of this core support, and claims it is this loyalty and constancy that allows the Company to be adventurous. Both Bintley and Barron are passionate about the relationship with Birmingham and celebrate the way the Company has become secure and grounded in the life of the city. ’15 years ago the only dance in this city was touring dance,’ Barron says. ‘Now it is an exciting home for creating dance and dancers.’ For Bintley and his dedicated team the driving force remains the same as it was for Ninette de Valois when she founded the first company at Sadler’s Wells Theatre 75 years ago: dance. ‘Of all the dance performing arts, ballet is the most diverse and the most popular,’ Bintley concludes. ‘From classics to the avant garde, from comedies to tragedies and abstraction, ballet does it all.’

National Ballet of Canada

The National Ballet of Canada, a company with more than 60 dancers and its own full symphony orchestra, is Canada’s premiere dance company and ranks as one of the world’s top international dance companies. Founded in 1951 by English dancer Celia Franca, the company was established as a classical company and is still the only Canadian company to present a full range of traditional full-evening ballet classics. However, the company presents not only the classical repertoire but also embraces contemporary works and encourages the creation of new ballets and the development of Canadian choreographers.

The first performance by the company was on November 12, 1951 at the Eaton Auditorium in Toronto. The programme included Les Sylphides and the Polovtsian Dances from Prince Igor. Principal dancers with the company were Celia Franca, Irene Apine, Lois Smith, David Adams and Jury Gotshalks.

In 1976, Alexander Grant, a former principal dancer with London’s Royal Ballet and Artistic Director of Ballet for All, became the Artistic Director of the company during its 25th Anniversary Season. Under his leadership, the company added many works by Frederick Ashton to the repertoire. Mr. Grant was also instrumental in encouraging talented choreographers from within the company, most notably James Kudelka and Constantin Patsalas, to produce original ballets.

The company began earning its international reputation in 1970 when it was the only classical ballet company to be invited to perform at Expo ’70 in Osaka, Japan. In 1972, the company undertook its first European tour to Britain, France, Belgium, Monaco, Switzerland and Germany. Also in 1972, Rudolf Nureyev staged his spectacular production of The Sleeping Beauty on the company. With this ballet, the National Ballet made a triumphant debut at New York’s Metropolitan Opera House in 1973. The company has returned over the years to perform at the Metropolitan Opera House and also at the State Theatre, Lincoln Centre.

The National Ballet toured throughout Europe during the seventies and in 1979 was the first Canadian company to appear at the Royal Opera House, Covent Garden in London. The company performed in Italy and Mexico in 1980, toured Europe in 1985 visiting ten cities in five countries and in 1989 toured Germany. In 1992, the company performed in Hong Kong, Japan, South Korea and Taiwan. The visit to Japan also included a Gala Performance in Tokyo. The National Ballet returned to Europe in 1993 to perform in Germany, Luxembourg, The Netherlands and for the first time, in Israel.

The legendary Erik Bruhn, considered one of the greatest classical male dancers of this century, took over the position of Artistic Director of the National Ballet in 1983. Bruhn’s 20 year association with the National Ballet and the National Ballet School as choreographer, producer, teacher, coach and dancer made him ideally suited to lead the company. Some of the ballets that Mr. Bruhn added to the company’s repertoire include The Merry Widow, Robert Desrosiers’ Blue Snake and Glen Tetley’s Alice. Onegin was premiered at the 1984 Toronto International Festival of Music and Dance and staged by Reid Anderson.

Following the sudden death of Erik Bruhn, his associates, Valerie Wilder and Lynn Wallis, were named Associate Directors (1986) and then co-Artistic Directors (1987). During their tenure the company celebrated its 35th anniversary with a gala evening featuring special guest artist Rudolf Nureyev. The International Competition for the Erik Bruhn Prize, an event conceived by Mr. Bruhn and organized by Ms. Wilder and Ms. Wallis, was premiered by the National Ballet in May 1988. From 1987 to 1989 choreographer Glen Tetley joined the National Ballet as Artistic Associate. Mr. Tetley’s original works for the company include Oracle, Alice, La Ronde, and Tagore.

On July 1 1989, Canadian-born Reid Anderson took over as Artistic Director and Ms. Wilder was appointed Associate Director. During his seven seasons with the company Mr. Anderson acquired many new ballets for the company including John Cranko’s The Taming of the Shrew, Frederick Ashton’s A Month in the Country and Jiri Kylian’s Soldiers Mass. He commissioned many new works notably William Forsythe’s The Second Detail, John Neumeier’s Now and Then, John Alleyne’s Interrogating Slam and James Kudelka’s The Actress, Spring Awakening and The Nutcracker. In November 1995, Reid Anderson resigned as Artistic Director of the National Ballet. He has since been appointed Artistic Director of the Stuttgart Ballet.

In February 1996, James Kudelka was appointed the company’s new Artistic Director and assumed the position in June 1996. A world-renowned choreographer, Mr. Kudelka has created many original works for the National Ballet including The Nutcracker, Spring Awakening, The Actress, The Miraculous Mandarin, Musings and Pastorale as the company’s Artist in Residence (1992 – 1996). As Artistic Director he created The Four Seasons (1997), Swan Lake (1999) and A Disembodied Voice (1999) and The Firebird (2000), The Contract (The Pied Piper) (2002), Cinderella (2004), commissioned new works by Canadian choreographers John Alleyne, Dominique Dumais and Jean-Pierre Perreault, added works by George Balanchine to the repertoire and staged several works he created for other companies on National Ballet dancers.

In September 1998, Karen Kain, who retired as Principal Dancer in 1997, accepted Mr. Kudelka’s invitation to return to the company as Artist in Residence. In 1999 Ms. Kain became Artistic Associate. In October 1998, the National Ballet made a triumphant return to New York City, after a ten-year absence. The company performed a programme of all Canadian choreography, including works by Mr. Kudelka, Dominique Dumais and John Alleyne, and was unanimously praised by the New York press.

During the summer of 1996 the company moved into its new home, The Walter Carsen Centre for the National Ballet of Canada in Toronto. In 2002 Valerie Wilder left the company as Executive Director. Kevin Garland, who had served on the board for 10 years, was appointed the new Executive Director.

In June 2005, Mr. Kudelka stepped down as Artistic Director following a tenure of 9 years, which saw a growth in the company’s repertoire and international acclaim. Mr. Kudelka assumed the role of Resident Choreographer. In July 2005, Karen Kain became the company’s new Artistic Director.

At home in Toronto, the National Ballet performs annual fall, winter and spring seasons plus The Nutcracker at the Hummingbird Centre and each season performs in other Canadian cities including Ottawa and Montreal as well as touring to smaller communities with an alternating roster of dancers.

In the fall of 2006 the Company will move to its new performance venue, the magnificent Four Seasons Centre for the Performing Arts.
 

West Australian Ballet

West Australian Ballet is one of the foremost performing arts organisations in Western Australia.

Founded in 1953 by Madame Kira Bousloff, it is the oldest of the three ballet companies in Australia, and has developed a fine reputation for bringing both classical and contemporary ballet and contemporary dance of the highest level. The repertoire is diverse, ranging from full length ballets to shorter works, and encompasses a variety of styles, with classical ballet the foundation for the company’s vocabulary, but with a distinctly contemporary outlook on life.

A large part of the repertoire is created for the Company, by invited Australian and international choreographers, as well as by the Artistic Directors. Also included are highlights from classical ballets and masterpieces of the international 20th century repertoire.

The Company has a policy of commissioning leading Australian artists, designers and composers, and has become a showcase for the country’s finest talent.

The standard of dancing is high and all of the 20 dancers who are currently part of the Company have a strong classical background. Some of them have had national and international careers prior to joining West Australian Ballet and many have received awards for their excellence in dancing.

Based in Perth and resident at His Majesty’s Theatre, the Company offers an extensive program of dance throughout the year, with three to four major seasons in Perth, regional touring throughout Western Australia, choreographic workshops, series of free public performances, an extensive education program and other activities.

West Australian Ballet also tours nationally and internationally; recent international tours include those to China, Japan, Indonesia, Taiwan and the Philippines.  In 2005 West Australian Ballet toured nationally to Melbourne, Canberra, Wollongong, Parramatta and Newcastle and embarked on a North West Tour to Broome, Karratha, Onslow and Newman.  The Company also toured internationally to China, performing in Beijing, Nanjing, Hangzhou and Shanghai.

West Australian Ballet is the only state dance company that has an official partnership with its state symphony orchestra (West Australian Symphony Orchestra).

The Australian Ballet

Founded in 1962, The Australian Ballet is one of Australia’s flagship arts companies, and one of the busiest ballet companies in the world.

Each year, it presents approximately 200 performances in cities and regional areas around Australia, in addition to regular international touring.

The Australian Ballet’s diverse repertoire reflects their vision: caring for tradition, daring to be different. Each year, they perform works from the classical repertoire as well as more contemporary works and commissions that explore the development and future of this dynamic artform.

Versatility, technical excellence and a warm, friendly style are the trademarks of The Australian Ballet, qualities that have earned both critical and audience acclaim.

For over four decades The Australian Ballet has been the defining the face of ballet in their country. It is one of the companies which have helped create the modern culture of Australia. But it is, by world standards, a new company. It gave its first performance in 1962, building on a strong and rich tradition of ballet in Australia, and on the efforts of many dedicated pioneers in ballet and dance.
 
The company’s founding Artistic Director, Peggy van Praagh, brought with her initiative, astute direction, exacting standards and dedication, enabling The Australian Ballet to flourish and achieve international status early in life.
 
The Australian Ballet’s first season had as Principal Dancers, Kathleen Gorham, Marilyn Jones and Garth Welch, all stars from the Borovansky Ballet; as Ballet Master, Ray Powell on loan from The Royal Ballet, and as Teacher, Leon Kellaway, who first came to Australia with the Pavlova company. The repertoire was firmly based on a mixture of the popular classics, other international works of proven quality and a proportion of ballets created especially for the company.
 
Renowned dancers such as Sonia Arova, Erik Bruhn, Margot Fonteyn and Rudolf Nureyev were happy to be guests of the young company. Nureyev so enjoyed working with The Australian Ballet that not only did he regularly tour with the company, but in 1972 he directed and performed with them in a film said by many critics to be the finest classical ballet film ever produced, his Don Quixote. 
 
The other requirements van Praagh laid down as essential were that the company must have its own school – which was established in 1964 under the direction of Margaret Scott – and that the dancers must be offered the security of year-round contracts. Through the consistent excellence of the Ballet School, and through the close-knit ensemble nature of the company, she and her successors have enjoyed the benefits of well-trained and highly motivated dancers.
 
Peggy van Praagh ran the company for its first 12 years, for much of the time with Robert Helpmann as Associate Director. Anne Woolliams was Artistic Director for 1976/77 during which time she produced two of John Cranko’s greatest works for the company, Romeo and Juliet and Onegin, which she brought with her from the Stuttgart Ballet. Dame Peggy van Praagh returned as Artistic Director for 12 months in 1978 and was followed by a former ballerina of the company, Marilyn Jones, in 1979. She founded The Dancers Company as a second company comprising graduating students of The Australian Ballet School and dancers from The Australian Ballet; it tours Australia annually. Maina Gielgud was The Australian Ballet’s Artistic Director from 1983 to 1996. Under her guidance the company extended its contemporary repertoire and grew in strength and international reputation. She also strongly encouraged works by Australian choreographers and appointed in 1995, Stephen Baynes and Stanton Welch as Resident Choreographers. Then in 1997 Ross Stretton returned to his alma mater after working in key artistic posts in the US, bringing with him a vision of creativity, energy and passion.
 
The company’s present Artistic Director, David McAllister, was appointed in 2001 following Ross Stretton’s move to The Royal Ballet, Covent Garden. A former student of The Australian Ballet School and Principal Artist with the company, David has moved from Principal Artist to Artistic Director with the same poise and enthusiasm which characterised his years as one of their leading dancers.
 
All of these Artistic Directors have worked to make The Australian Ballet not only one of the busiest ballet companies in the world, but an outstanding ambassador for Australia on its visits to world ballet centres in Europe, Asia and America. Versatility, technical excellence and a warm, friendly style are the trademarks of The Australian Ballet, qualities that have earned both critical and audience acclaim here and overseas. These qualities keep the company in such demand that its ensemble of dancers present over 180 performances annually both in Australia and abroad. 
 
Alongside an established body of the great ballet classics, the company presents modern repertoire created by Australian and major international choreographers. The works of Australians Stephen Baynes, Stanton Welch, Graeme Murphy and Natalie Weir are presented alongside those by major international choreographers Jiri Kylián, Nacho Duato, Glen Tetley, Maurice Béjart, Jerome Robbins, George Balanchine, Twyla Tharp, John Cranko, William Forsythe, James Kudelka and Kenneth MacMillan.
 
The title of Principal Artist is the highest honour the company can bestow.  Their dancers are supported by professional and enthusiastic ballet, music and technical staff, and a company management team in which every member plays a part in taking ballet to the Australian and world stages. 
 
The secret of The Australian Ballet’s international reputation is not hard to find. It lies partly in a repertoire that gives scope to the many talents in the company as well as in the quality of its dancing. As John Percival, dance critic of The Times (London) and editor of Dance & Dancers stated, “This is a company with a spirit of its own, and one that is very easy to like and enjoy”.

English National Ballet

English National Ballet is one of the world’s great ballet companies. The original 1950s vision for the Company – to take classical ballet of the highest quality to the widest geographical audience, at a price everyone can afford – remains the cornerstone of the Company’s philosophy today.

As a flagship company for the nation, English National Ballet presents an extensive touring schedule at home and abroad. They employ the best of British and international talent: choreographers, dancers, designers, musicians, rehearsal staff, technicians and administrators – all working as an ensemble to create productions that tour brilliantly and are accessible and exciting to their audiences.

English National Ballet is committed to developing the artform by keeping the cornerstones of the classical repertoire vibrantly alive. By commissioning and acquiring new pieces, refurbishing existing works and encouraging new choreographers to work with their impeccably trained performers they aim to maintain an original and popular repertoire for the nation. Affordable pricing for their performances is key and ensures that they continue to develop new audiences, maintaining an enthusiastic and dedicated following for their work.

The Company has set the standard in maximizing accessibility to dance, especially in its ground-breaking education and outreach activity. The dedicated Education and Community Unit works within all the communities that the Company tours to. Their work is integral to their goal of creating relationships with a wide variety of audiences nationwide and encouraging understanding of ballet.

There are 64 dancers in the Company, and this is augmented to 120 for annual performances at the Royal Albert Hall. There are approximately 80 members of staff, with departments including Artistic, Wardrobe, Technical, Education and Administration. In addition, the Orchestra of English National Ballet has 47 core members and is increased for performances in large theatres throughout the country.

57 years of English National Ballet

As the new millennium dawned, English National Ballet celebrated 50 years as an internationally acclaimed classical ballet company. English National Ballet tours extensively throughout England and presents two high-profile seasons in London; at the London Coliseum at Christmas and, with huge arena productions, at the Royal Albert Hall in the Summer. Overseas touring is also a regular part of the annual performance programme and English National Ballet has traveled the world over, serving as a flagship company for British ballet.

The Foundations of English National Ballet

Founded in 1950 by Alicia Markova and Anton Dolin, with the financial backing of Polish impresario Julian Braunsweg, the Company’s original name, Festival Ballet, was inspired by the then imminent Festival of Britain. In 1989, however, to reflect the Company’s role as the nation’s touring classical ballet company, the name English National Ballet was adopted.

It was Dolin, Artistic Director for the first decade, who gave the Company its focus as a touring organisation that took the finest classical ballet to new, and established, audiences throughout the country, at affordable prices. He also introduced outreach and education programmes to develop new audiences; in the 1950s, Dolin and his dancers would visit schools to talk about dance. Continuing Dolin’s work today, the Company has a dedicated Education and Community team whose activities range from year-long projects to one-off workshops with schools and communities nation-wide.

The International Stage

In 1951 the Company began to tour abroad, quickly becoming a cultural ambassador (particularly after the Company’s appearance on Eurovision in 1956, when its performance of Etudes at the gala to celebrate the wedding of Prince Rainier and Grace Kelly was transmitted). In its first 15 years, the Company was seen throughout Europe, the Middle East and in North and South America. It was also the first major ballet company to perform in Israel. English National Ballet continues to tour internationally today and in recent years has visited Australia, the Far East and Japan. During 2004/05, the Company travelled to Dubai and Athens and the 2005/06 season will see performances in Madrid and Taipei.

Taking ballet into the next century

As well as performing the traditional ballet favourites of The Nutcracker, Swan Lake and Romeo & Juliet, the Company has a history of initiating the creation of new, and often innovative, ballets. English National Ballet’s former Artistic Director, Matz Skoog, placed particular emphasis on commissioning new works to supplement the Company’s established repertoire. Commissions included works by British choreographers Michael Corder (Melody on the Move), Wayne McGregor (2 Human) and Christopher Hampson (Double Concerto). Matz’s work was recognised at the Critics Circle National Dance Awards in January 2004, when the Company won the “Outstanding Repertoire” (classical category) award.

Looking ahead

The dancers, members of staff and those who serve on the Board of Governors are led by John Talbot (Chairman), Wayne Eagling (Artistic Director) and Craig Hassall (Managing Director). The original 1950s aspiration for the Company – to take popular ballet to the widest geographical audience at a price they can afford – remains as valid today as when first expressed by the Company’s founders.

The Sacramento Ballet

The Sacramento Ballet was founded in 1954 through the efforts and leadership of Barbara and Deane Crockett, who came to the capital of California from the San Francisco bay area. During Ms. Crockett’s tenure as Company Director, The Sacramento Ballet gained national recognition as one of the finest regional arts companies.  Through community support, the formation of the Ballet Guild, and grants from the Sacramento Metropolitan Arts Commission, California Arts Council, and the National Endowment for the Arts, the Ballet was able to grow and begin to hire a resident company of professional dancers.  In 1986, having accomplished her goal of making The Sacramento Ballet a professional company, Ms. Crockett retired as the Company Director.

In 1988 Ron Cunningham was engaged as Artistic Director, and was joined by his wife Carinne Binda the following year.  The two became Co-Artistic Directors in 1991, and through their vision and leadership, the company has enjoyed substantial success and is widely recognized as a leading arts organization in Sacramento.  Cunningham and Binda have successfully chosen ballets that balance public appeal with works that stretch and develop the artistic capabilities of the dancers.  The Sacramento Ballet is as well known for Cunningham’s world premieres of such works as Carmina Burana, The Rite of Spring and Bolero as it is for his classics, including The Nutcracker, Romeo and Juliet, and Cinderella.  The Ballet’s audience has had the opportunity to experience a vast repertoire, including works by Septime Webre, David Parsons, Kathryn Posin, Agnes de Mille, Glen Tetley, Val Caniparoli, Trey McIntyre and Twyla Tharp.  In 18 seasons, the Ballet has added 13 full-length ballets, 18 Balanchine masterworks, 36 Sacramento premieres, and 34 world premieres.  The company is highly regarded as a cultural asset to the community and consistently receives outstanding reviews for its artistic quality.

The Sacramento Ballet has taken a leadership role in outreach, education, community service and collaborative projects, and is without question, a leader in arts education and outreach in the greater Sacramento region.  As a professional company, The Sacramento Ballet targets communities through its touring program, traveling throughout the greater Sacramento Valley and as far as Hawaii, Washington, and Victoria, B.C.  Through extensive Education and Outreach programs, the Ballet reaches approximately 40,000 participants each season.

The Sacramento Ballet has received annual funding from corporations, foundations and government agencies to support its operational and artistic growth, including: California Arts Council, National Endowment for the Arts, Sacramento Regional Foundation, Sacramento Metropolitan Arts Council, The James Irvine Foundation, Target Stores, Raley’s Stores and the McClatchy Company to name a few.  Since 1986, the company’s operating budget has grown steadily, and audience attendance has increased from 15,000 to over 80,000 each season. The Ballet remains the only Sacramento arts organization with a resident company of artists.

 
The mission of The Sacramento Ballet is to operate a professional resident ballet company for the Sacramento region with performances of the highest quality.  The artistic vision of the Ballet is dedicated to developing and sustaining an informed, enthusiastic and broad-based audience for dance and the performing arts, while increasing accessibility to the arts for the entire community.  The Sacramento Ballet’s Education and Outreach efforts have focused on working with students who are educationally at risk, and on providing encouragement, enrichment, and role models to Sacramento’s youth.  The purpose of the Ballet has always been to entertain, educate, inspire, and engage audiences through the powerful vehicle of dance.