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Impermanence 1 #2021SDC
ab [intra] Roslyn Packer Theatre
Walsh Bay, Sydney
★★★★ 7 – 11 September
“Has to be seen to be believed”
The Sydney Morning Herald
Rafael Bonachela’s acclaimed
ab [intra] returns for a very
special encore season
Book Now
sydneydancecompany.com
#2021SDC
Are you reframing
the future or is the
future reframing
you?
Photo: Pedro Greig
Welcome
My sincere thanks go also to our major
funders the Australian Government, through
the Australia Council for the Arts, for their
ongoing support. The Australian Government’s
assistance programs over the course of 2020
made a material difference to Sydney Dance
Company and we are deeply grateful for
that help.
The NSW Government has been a steadfast
supporter of the Arts over this time. Not only
is Sydney Dance Company grateful to be the
recipient of ongoing partnership funding from
The start of 2021 has seen both a joyous the NSW Government, we are also humbled
return to the stage for Sydney Dance and deeply thankful to have received support
Company and a celebrated return to our through their Restart and Renewal support
home on the Wharf. For all of us, the package for the Arts. With that support we are
impacts of 2020 and COVID-19 have left an able to employ the artists that have helped
indelible mark. bring Impermanence to the stage and ensure
that 2021 will see Sydney Dance Company
It has been a great pleasure to watch the back on tour.
dancers come back into the studio after
months at home last year – to watch Raf Over several years we have been working
working with them once more – putting shape closely with the NSW Government on the
and structure to the emotion of what the last renewal of our home at Walsh Bay and we
12 months have wrought. I encourage you to thank them for their investment and congratulate
allow yourself to inhabit Impermanence – its them on completing the first stage of this
journey to the stage is a reflection of the once-in-a-lifetime project. We are so proud to
journey we have all been on over the last year be in the heart of this incredible precinct.
and its premiere marks a moment in time –
impermanent but impactful. Our enormous gratitude goes to the many
people who have contributed to our Take A
Despite the closure of theatres and the Step Campaign to allow us to play our part
cancellation of tours we were busy in 2020. in partnering with the NSW Government on
We launched our Virtual Studio online this project. This campaign was supported
classes program, delivered a digital schools’ by leadership gifts from the Neilson, Clifford,
program nationally and produced short Mordant, Wales, Zampatti, Knights and Clegg
dance film pieces for the Dance Locale and families. With their support, and that of all
Cuatro series. those who invested in our vision, we have
secured a home for Australian contemporary
In 2021 we can build upon our Digital program dance, now and into the future.
offerings due to the impactful RISE funding
granted from the Department of Infrastructure, It has often been said that Sydney Dance
Transport, Regional Development and Company feels like a family; we work together
Communications, Office of the Arts. This collectively to bring these incredible works to
funding will enable us to continue to diversify the stage. We share the joys and triumphs of
revenue generation and improve our reach in success and we gather together and buckle
regional, remote areas to permanently offer down to get through the challenges. My
digital classes, schools’ programs on demand sincere thanks and appreciation go to all of
nationally and internationally and live streams the Sydney Dance Company family, Board,
of productions like you are seeing tonight. staff, dancers and audiences for what has
been achieved over the last 12 months, as we
The support of our donors and audiences look forward to the next year and the joy of
was incredible and so very appreciated. This sharing Impermanence far and wide.
came in many forms and every piece of it
contributed to ensuring that Sydney Dance Anne Dunn
Company is still here today. Executive Director
5 #2021SDC
Welcome to
Impermanence
What a journey. Almost twelve months ago, as As it became apparent towards the end of
we were in the theatre in technical rehearsal 2020 that we would, perhaps, be able to
for the original iteration of Impermanence, the perform on stage again, I contacted Bryce
impact of the COVID-19 pandemic became to explore extending both his score and my
apparent, and a matter of days before opening choreography; to create a full-length work that
night, the curtain came down before it had ever responded to the initial stimulus and to the
been raised. shattering change to the fabric of our lives that
had affected us all.
After the challenges we have all faced, as a
nation and as global citizens, it is an enormous Bryce has created incredible music. It is full
privilege to finally be able to present this work. of emotional power; epic, driven, raw and
I am truly delighted that you are here, in a poignant. The choreography takes its cues
theatre, and watching Sydney Dance Company from these drivers inspired by the questions
perform. the music raises for me – what do we hold
dear? How do we make each and every
Bryce Dessner and I were initially inspired to moment count? From devastation, what is the
consider the ephemeral nature of life when we pathway through energy and urgency to peace
spent time together in Paris in 2019, shortly and radiance?
after the Notre Dame fire. We reflected on
how easily things fall apart, even structures In 2015, I choreographed Frame of Mind using
we imagine to be eternal, but also the fragility Bryce Dessner’s Ahyem; a driving, thrilling piece
and impermanence of human life, the planet for string quartet, originally commissioned by
and human relationships. This transience, so the Kronos Quartet. I really connected to that
fleeting and vulnerable is the perfect subject piece of music and the artistic relationship with
for live performance and in a post-COVID “new Bryce grew once he had an opportunity to see
normal”, a work that we created to reflect on the dancers rehearsing to his score. He was in
vulnerability has added poignancy. Sydney performing with his band, The National,
in 2018 when he had the opportunity to visit
The majority of the score was written towards the studio. From that meeting, our creative
the end of 2019 when the bushfire crisis collaboration blossomed.
overwhelmed Australia. Bryce was deeply
affected by what he was seeing; the images It has been a real treat to conceive of this work
of the bush on fire, headline news across the together – to explore the emotional drivers
world, permeated his thinking and the work. through both dance and music and to arrive
The personal connection he felt to Australia, at a place where the parts knit together so
to Sydney, to the Company, the dancers, saw closely to make the whole. And ironically, to
beauty germinate from desolation. be able to shape Impermanence in response
to such unexpected, but life-changing global
6 sydneydancecompany.com
events. For me, this encapsulates the incredible power of contemporary dance and music and how the response of the artist can truly resonate. Part of making that whole is of course the Australian String Quartet – working with them to not only realise the work for performance but to actually jointly commission the score has been a joy. I want to thank the wonderful musicians of the Australian String Quartet, Dale Barltrop, Francesca Hiew, Stephen King and Michael Dahlenburg, and guest musician Christopher Cartlidge. Their talent is breathtaking and their passion for this project inspiring. It has been a pleasure to work again with Damien Cooper whose lighting brings so much depth to this work, with designers David Fleischer and Aleisa Jelbart, whose deigns in set and costume have captured our world of Impermanence. My sincere thanks go to all those who have worked on Impermanence, especially the dancers, whose tenacity, passion and resilience, through months of Zoom rehearsals and dancing in lounge rooms across Sydney, have brought us to the stage today. Now more than ever, I realise that we must make the most of every moment, that every moment counts; we must hold tight what we hold dear. I hope that you enjoy every moment of Impermanence. Rafael Bonachela Artistic Director 7 #2021SDC
Impermanence
Choreographer Rafael Bonachela Impermanence, a work by Rafael
Bonachela, featuring Bryce Dessner’s
composition, Impermanence,
Composer Bryce Dessner commissioned by Sydney Dance
Company and Australian String Quartet (by
Lighting Designer Damien Cooper arrangement with Chester Music Ltd, Wise
Music Group)
Stage Designer David Fleischer With generous support from:
The Neilson Foundation
Costume Designer Aleisa Jelbart Antoinette Albert, Don & Veronica Aldridge,
The Berg Family Foundation, Paul Brady
& Christine Yip, Jillian Broadbent AC
& Olev Rahn, Jane & Andrew Clifford,
Manuela Darling, Chum Darvall AM &
Australian String Quartet Sonja Woodwell, Susie Dickson & Martin
Dickson AM, Helen Pagnin & Angie Ellis,
Dale Barltrop – Violin I Bahar Etminan & Herbert Appleroth, John
Griffiths & Beth Jackson, Janet & Michael
Francesca Hiew – Violin II Hayes, Alicia K Kemp, Joan Lyons, Jules
Stephen King – Viola Maxwell, In memory of Nola McCullagh,
Michael Dahlenburg – Cello Janet McLachlan, Didy McLaurin, Catriona
Mordant AM & Simon Mordant AO,
Paris Neilson & Todd Buncombe, Rebel
Penfold-Russell OAM & Ian Low, Dominique
Robinson, Bernard Ryan & Michael Rowe,
Impermanence Jeanette Sandford-Morgan OAM, Penelope
Composition for String Quartet and Seidler AM, Ezekiel Solomon AM, Allegra
Spender & Mark Capps, Bianca Spender &
Electronics by Bryce Dessner Sam McGuinness, The Ian Wallace Family
Bequest, Kathy White and Carla Zampatti
Before Foundation.
Alarms Commissioning Partners:
Disintegration The Concertgebouw (Amsterdam),
Alarms 2 Civic Theatre (City of Newcastle),
Urgences Frankston Arts Centre, Glasshouse Port
Macquarie, Griffith Regional Theatre,
Embers Mildura Arts Centre, Shoalhaven
Shards Entertainment Centre, Ulumbarra Theatre
Emergency (Bendigo Venues & Events).
Impermanence Impermanence is presented in association
Pulsing with the Australian String Quartet. This
Requiem - Ashes project has been assisted by the Australian
Another World Government through the Australia
Council for the Arts, its arts funding and
advisory body.
Additional Electronics David Chalmin
The ASQ acknowledges musicians
Another World – song by Anohni with arrangement for live quartet
Sharon Grigoryan – cello and Rachael
by Bryce Dessner. Use of Anohni’s Another World is with kind
Tobin – cello, who have been part of the
permission of Kobalt Music Publishing. Another World is written by
development and recording of this work.
Anohni and administered by Kobalt Music Publishing. Recording
produced by Anohni, Antony and The Johnsons, Rough Trade 2008,
Remote Control Records.
8 sydneydancecompany.comAbout Rafael Bonachela Rafael Bonachela was born in Barcelona where he began his early dance training before moving to London. In 1992 he joined the legendary Rambert Dance Company. He remained with Rambert as a dancer and Associate Choreographer until 2006 when he successfully set up the Bonachela Dance Company (BDC) to concentrate on the rapid rise of his choreographic career. As a choreographer, Rafael has been commissioned to make works for Dresden Frankfurt Dance Company, Candoco, George Piper Dances, ITDANSA Danza, Contemporanea de Cuba, Transitions Dance Company and Dance Works Rotterdam, amongst others. In 2008, Bonachela premiered 360°, his first full-length production for Sydney Dance Company. Less than six months later, he was appointed Artistic Director, making headlines around the dance world. His vision for the Company embraces a guiding principle that has seen the repertoire grow, with the addition of commissioned dance works from Australian and visiting international guest choreographers. These works are often programmed alongside Rafael’s own creations, ensuring diversity for audiences and providing much sought after opportunities for his remarkable ensemble of dancers to be exposed to the work of some of the most in-demand choreographers of our time. Rafael Bonachela’s internationally recognised talent has seen him work not only with contemporary dance at the highest level, but also with artists from popular culture, such as Kylie Minogue, Tina Turner, Sarah Blasko and Katie Noonan, as well as leading fashion designers Bianca Spender, Dion Lee and Toni Maticevski. Such collaborative efforts reflect the inspiration he finds and utilises from contemporary culture. You can read more of Rafael’s biography here. 9 #2021SDC
A Note from the Composer
Composing for dance is something that has reflecting on both the incredible paradigm
always fascinated me – my sister is a dancer shift the world has experienced during
– and the symbiosis of music and movement, the pandemic and how we all have been
each weighted equally, is the most satisfying affected. The fragility of our existence and
of collaborations for me. After meeting Rafael the vulnerabilities that have been exposed
and the dancers when I visited Sydney in 2018 have been compounded, from our relationship
and seeing the way Rafael used three tracks to the planet, the climate and the structures
from my work Aheym in his 2015 piece Frame around us, to change at a profoundly personal
of Mind, I was intrigued to work with Sydney level.
Dance Company on a commissioned score
and a new work. The intimacy of composing chamber music
and working with strings is a passion. I am
Rafael and I met in Paris in the northern delighted that Sydney Dance Company
summer of 2019 to explore concepts for a has joined forces with the Australian String
new work. Following the Notre-Dame fire, I had Quartet to commission this work and thrilled
been mulling over a number of themes that that the Quartet will play live on stage with the
intrigued me. Living in Paris, I had been deeply dancers.
shaken as the world-renowned cathedral, the
beating heart of the city for over 850 years Rafael and I both wanted to end the work
and the symbol of so much art and humanity, with a song. My friend Anohni was delighted
burned and was forever transformed. to collaborate with us, and I asked if we could
adapt her incredibly beautiful song Another
The mutability of the structures around us, World as the closing of Impermanence. Her
both tangible and intangible, became central lyrics encapsulate perfectly everything that
to my thoughts. In the following weeks and Rafael and I sought to achieve with this piece.
months, a catastrophic bushfire season in
Australia escalated. Images were beamed “I need another place. Will there be peace? I
around the world on the internet and TV and I need another world. This one’s nearly gone.”
was horrified to see the devastation it caused
to the bushland, the wildlife, and to people’s Bryce Dessner
homes and livelihoods. Having regularly visited Composer
Australia, and spent time in Mallacoota, I
was profoundly moved by the images of loss,
destruction and panic that were being shared
across the world. I was also deeply affected
by the beauty that revealed itself in the
aftermath – the hope, and the anticipation.
These events, and their impacts,
fundamentally shaped the architecture of this
work and became pivotal to its development.
With just days to go before opening night, the
impact of the COVID-19 pandemic became
apparent and the scheduled premiere
and performances of what had become
Impermanence were cancelled. Devastating
at so many levels. However, as Australia
has worked towards a new COVID-normal,
Rafael contacted me to explore extending
both my composition and the choreography,
10 sydneydancecompany.comBryce Dessner
and Bon Iver. In 2015, Rafael Bonachela
choreographed his work Frame of Mind to
Dessner’s dramatic contemporary classical
album Aheym recorded by Kronos Quartet.
Frame of Mind went on to win four Helpmann
Awards, has toured internationally and was
performed live by the Australian String Quartet
in Sydney Dance Company’s 2018 reprise of
the work.
Bryce Dessner was named one of a collective
of eight “extraordinary artists, thinkers and
doers” to help steer the artistic leadership
of Esa-Pekka Salonen as San Francisco
Symphony Orchestra’s new Music Director from
September 2020.
Recent major works include Concerto for
Two Pianos for Katia and Marielle Labèque,
premiered by London Philharmonic Orchestra
and recorded for Deutsche Grammophon; Voy
a Dormir for Kelley O’Connor and Orchestra
of St. Luke’s; Skrik Trio for Steve Reich and
Carnegie Hall; the ballet No Tomorrow co-
written with Ragnar Kjartansson; and Wires for
Ensemble Intercontemporain. In 2019, Gautier
Bryce Dessner is a vital and rare force in Capuçon premiered a new work by Dessner
new music. He has won Grammy Awards as commissioned by Fondation Louis Vuitton,
a classical composer and with the band The and Los Angeles Philharmonic premiered
National, of which he is founding member, Triptych (Eyes for One on Another), a major
guitarist, arranger and co-principal song-writer. theatre piece integrating the photographs of
He is commissioned to write for the world’s Robert Mapplethorpe. New York’s Metropolitan
leading ensembles, from Orchestre de Paris Museum featured a song by Dessner in one of
to the Los Angeles Philharmonic. Meanwhile its first contemporary installations.
he is a high-profile presence in film score
composition, with credits including Alejandro Dessner’s albums include El Chan and
González Iñárritu’s The Revenant – for which he St. Carolyn by the Sea on Deutsche
was Grammy and Golden Globe nominated, as Grammophon; Music for Wood and Strings
well as his score for the triple Oscar-nominated (Brassland records); Aheym commissioned
The Two Popes (Netflix – November 2019) by Kronos Quartet; and When We Are
featuring legendary actors Anthony Hopkins Inhuman by Dessner, Bonnie ‘Prince’ Billy and
and Jonathan Pryce. The breadth and level of Eighth Blackbird.
Dessner’s creative output is remarkable.
Click to read more about Bryce Dessner’s
Dessner collaborates with some of today’s Impermanence score to feature
most creative and respected artists, including Mercury-Prize-winner Anohni
Philip Glass, Katia and Marielle Labèque, Paul
Simon, Sufjan Stevens, Johnny Greenwood, Click to listen to Bryce Dessner on Spotify
Bon Iver, Kelley O’Connor, Nico Muhly and
Steve Reich, who named Dessner “a major
voice of his generation.” His orchestrations can
be heard on the new albums of Paul Simon
11 #2021SDCImpermanence Creatives
Damien Cooper, Lighting Designer David Fleischer, Stage Designer
Isn’t it great to have live musicians onstage? The design for Impermanence is a pure,
I do love the energy it brings. This on top of abstracted architectural gesture that goes
Bryce’s intense score, Rafael’s ever climaxing on its own journey throughout the show. At
choreography on the full company of dancers. times it operates like a wall, at other times
Amazing! Intense! The lighting and scenic a horizon of a landscape; later, a window to
design will create a landscape for these nature, as well as a curtain that may close off
highly energised elements to exist within. that outside world. The set provides a context
A dose of simplicity? Purity? I often seek for the souls that inhabit it in this chaotic and
these elements in other aspects of my life alarming world. The journey the music takes
- fashion, architecture, design. The simple is mirrored by the movement of this single
and pure items always stand out. They bring scenic element, amplified by the arresting
balance. Enjoy. treatments of light. The purity of the space
aims to be in harmony with the clarity and
distinction of the string quartet on stage.
Biography
Damien works with many leading dance Biography
companies in Australia and his work has David is a set, costume and production
toured extensively around the globe. designer working across Australia with
Highlights include Cinco, ab [intra] and Grand leading theatre, dance and opera companies.
for Sydney Dance Company, Of Earth and Sky He has worked extensively with Sydney
for Bangarra Dance Theatre and The Happy Theatre Company, Sydney Dance Company,
Prince for The Australian Ballet. Damien’s Belvoir St Theatre, as well as Opera
career highlights include Neil Armfield’s Australia, Sydney Chamber Opera, Pinchgut
productions of The Ring Cycle for Opera Opera among others. His works have been
Australia and Exit the King on Broadway presented throughout the country as well as
starring Geoffrey Rush and Susan Sarandon. internationally. Notable recent productions
Damien has won three Sydney Theatre include Fangirls (Belvoir), The Harp In The
Awards, four Green Room awards and two South (Sydney Theatre Company) and ab
APDG awards. [intra] (Sydney Dance Company).
12 sydneydancecompany.comAleisa Jelbart, Costume Designer Biography The costumes for Impermanence were inspired Aleisa Jelbart is a Sydney based costume and by the music, composed by Bryce Dessner, set designer. For Sydney Dance Company as well as the vivid imagery of the Australian Aleisa has designed costumes for Rafael bushfires at the end of 2019. The score is Bonachela’s Lux Tenebris (2016) and Anima so layered, with an intensity and a sense of (2016), Melanie Lane’s WOOF (2019) and heaviness to it, contrasted by moments of a number of works featured in New Breed hope, and I wanted the costumes to reflect (2014-2020). Aleisa was the recipient of the this. I started by establishing a colour palette, 2016 Berlin New Music Opera Award and with the idea of using this to find lightness in the 2014/15 Hephzibah Tintner Fellowship the work. I avoided using blacks and whites, or for Production Design. Aleisa specialises any colours that were too strong and would be in design for movement, dance, cross too intense alongside the music, and instead disciplinary performance and devised work. landed on a palette of muted hues and soft, earthy tones. The softness of these colours also reflects the concept of hope emerging from the intensity, in the same way that the incredible images of rejuvenation followed the devastation of the bushfires. The simplicity of the dancers’ shorts provided me with a base to work from, giving me the freedom to explore a variety of textures and structures for the top half of the costumes. Using the idea of the fire at the Notre-Dame that initially inspired Bryce’s music, and the architectural elements of the historic cathedral, I have incorporated a mixture of strong lines and draping fabrics. The softness of seeing the dancers’ skin through short-sleeves or splits along the back of a top allow for a sense of vulnerability and connection to the movement happening on stage. 13 #2021SDC
Australian String Quartet
For over 30 years, the Australian String Quartet ARTISTIC DIRECTORS
(ASQ) has created unforgettable string quartet
performances for national and international Dale Barltrop Violin I
audiences. Dedicated to musical excellence 1784 Guadagnini Violin, Turin
with a distinctly Australian flavour, the ASQ’s
purpose is to create chemistry and amplify Francesca Hiew Violin II
intimacy through experiences that connect 1748-49 Guadagnini Violin, Piacenza
people with string quartet music. From its
home base at the University of Adelaide, Stephen King Viola
Elder Conservatorium of Music, the ASQ 1783 Guadagnini Viola, Turin*
reaches out across Australia and the world to
engage people with an outstanding program Michael Dahlenburg Cello
of performances, workshops, commissions c.1743 Guadagnini Violincello, Piacenza
and education projects. The Quartet’s distinct ‘Ngeringa’
sound is enhanced by a matched set of 18th
century Guadagnini instruments, handcrafted
by Giovanni Battista Guadagnini between
c.1743 and 1784 in Turin and Piacenza, Italy.
These precious instruments are on loan to
the ASQ for their exclusive use through the
generosity of UKARIA.
Angelina Zucco ASQ PATRON MANAGEMENT
Chief Executive Maria Myers AC Angelina Zucco
— Chief Executive
The opportunity to BOARD OF DIRECTORS Sophie Emery
work with like-minded Nicholas B Callinan AO — Operations Manager
individuals is the stuff of (Chair) Alison Growden
dreams. It has been our Bruce Cooper — Executive Assistant
great pleasure to play a (Deputy Chair) Samuel Jozeps
part in the co-creation Angelina Zucco — Marketing &
Communications
of Impermanence with (Chief Executive)
Manager
Rafael Bonachela, Bryce Alexandra Burt
Dessner and the fearless team at Sydney John Evans Helen Kearney
Dance Company. Through the visionary Janet Hayes — CRM & Marketing
Administrator
leadership of Sydney Dance Company, Marisa Mandile
this project has grown from a ‘what if?’ to Janet McLachlan Leigh Milne
a ground-breaking collaboration between Paul Murnane — Accounts
leading Australian companies and innovators. Susan Renouf Michelle Richards
With the generous investment of our Suzanne Stark — Development Manager
respective supporters, we are privileged to
play our part in making powerful contemporary
work for our world. Impermanence is a work
that is both for and of our time and we thank
you for joining us.
14 sydneydancecompany.comAustralian String Quartet
Creatives
Pictured L-R: Stephen King, Michael Dahlenburg,
Francesca Hiew, Dale Barltrop. Photo: Jacqui Way
Dale Barltrop, Violin I Stephen King, Viola
Dale has performed as a chamber and Stephen King played violin while growing up in
orchestral musician across the globe. In Canberra, then transferred his interests to the
addition to his position with the ASQ, he viola under the inspiring teachings of Elizabeth
serves as Concertmaster of the Melbourne Morgan. He completed his studies in the USA
Symphony Orchestra, and has been with James Dunham (Cleveland Quartet),
Concertmaster of the Vancouver Symphony Kathy Murdock (Mendelssohn Quartet) and
Orchestra and Principal Second Violin of Michael Tree (Guarneri Quartet), earning
the St Paul Chamber Orchestra. He has a Doctorate in Chamber Music from the
appeared as soloist and director with all three University of Maryland. From 1997, Stephen
orchestras. Dale made his solo debut with the was violist of the Coolidge String Quartet
Queensland Symphony Orchestra at age 15. based in Washington D.C. and then returned
to Australia in 2003 to join the Australian
Francesca Hiew, Violin II Chamber Orchestra. At the beginning of 2012,
A musician of diverse interests and influences, Stephen relocated to Adelaide with his family
Francesca has maintained a multifaceted where he was appointed as violist of the
career. Prior to joining the Australian String Australian String Quartet.
Quartet, she was a member of the Melbourne
Symphony Orchestra. Francesca enjoys Michael Dahlenburg, Cello
teaching and coaching chamber ensembles, Michael studied cello with Howard Penny
regularly tutoring for the Australian Youth at the Australian National Academy of
Orchestra, Adelaide Youth Orchestra and the Music and Molly Kadarauch at the University
University of Adelaide. A former student and of Melbourne. He was Principal Cellist of
fellow of the Australian National Academy Melbourne Chamber Orchestra until 2020,
of Music, Francesca is passionate about and has been Guest Principal with Tasmanian
fostering the future of chamber music. Symphony Orchestra, Auckland Philharmonia
Orchestra and Orchestra Victoria. He has
worked as a guest with the Australian String
Quartet, Flinders Quartet, Australian Chamber
Orchestra, ACO2 and Adelaide’s ARTARIA
ensemble. Michael Dahlenburg joined the
Australian String Quartet as its Cellist in
November 2020.
15 #2021SDCPhoto: Pedro Greig
Richard Cilli
& Charmene Yap
Richard Cilli Charmene Yap, Rehearsal Associate
Richard Cilli is a Perth-born, Sydney-based Charmene Yap is a multi-award-winning dancer,
dance artist. He has performed the work rehearsal director and choreographer. She is a
of renowned Australian and international graduate of the Western Australian Academy
choreographers, including Lloyd Newson, of Performing Arts and Purchase College
Anouk van Dijk, William Forsythe, Lucy Guerin, New York. In her early career, Charmene was
Stephanie Lake, Rafael Bonachela, Gideon a recipient of an Australian Council Skills
Obarzanek, Alexander Ekman, Jacopo Godani, and Development Grant and nominee of the
Emanuel Gat, Kenneth Kvarnström, Gabrielle prestigious Rolex Mentor and Protégé Arts
Nankivell and Kristina Chan. Initiative Award.
After training at STEPS Youth Dance Company Prior to her decade of performing for
and then the Western Australian Academy Sydney Dance Company, Charmene danced
of Performing Arts, Cilli joined Sydney Dance for companies Chunky Move, Tasdance,
Company in 2009. He won the Helpmann Dancenorth, Lucy Guerin Inc., Armitage Gone!
award for Best Male Dancer in 2010 for his Dance Company and worked with numerous
performance in Rafael Bonachela’s we unfold. choreographers including Tanja Liedtke and
Antony Hamilton. She has featured in films
He has been a member of Sydney Dance including Think Of Yourself As Plural by David
Company, Dancenorth, K.Kvarnström & Co Rosetzky, Del Kathryn Barton’s Red, and Katie
(Stockholm), Lucy Guerin Inc., Chunky Move Noonan’s music video Quicksand.
and Australasian Dance Collective. Cilli has
created work for Sydney Dance Company, The Charmene joined Sydney Dance Company as
Australian Ballet, LINK Dance Company, and a dancer in 2010, performing the majority of
WAAPA, as well as independently produced works by Artistic Director Rafael Bonachela,
work. and other Australian and international
choreographers including William Forsythe,
2018 saw Richard join Chunky Move to Alexander Ekman and Stephanie Lake. She
work with Anouk van Dijk on Common has won numerous awards including the
Ground, Anti Gravity, and Accumulation. Helpmann Award for Best Female Dancer in
In 2019 he co-produced and performed 2012, the Australian Dance Award in 2013 for
alongside percussionist Claire Edwardes 2 One Another, and the Helpmann Award for
in Gideon Obarzanek’s Recital. He also Best Female Dancer in 2014 for 2 in D Minor.
joined Australasian Dance Collective for a Charmene has choreographed works performed
collaboration with Beijing Dance LDTX in China. by Sydney Dance Company and Co3 Company
in Perth and more recently was Assistant
In 2020 Richard joined the cast of Lloyd Choreographer for Gideon Obarzanek’s Us 50
Newson’s ‘Enter Achilles’ revival tour, presented which celebrated Sydney Dance Company’s
by Rambert and Sadler’s Wells. 50th Anniversary.
Richard is a certified Countertechnique In September 2019, Charmene commenced her
teacher, and loves to share his passion and new role as Sydney Dance Company’s inaugural
curiosity as a performer, maker and teacher in Rehearsal Associate, working with both the
Australia and around the world. company’s artistic and education departments.
Charmene also continues to perform and
In April 2021, Richard commenced his role as develop her choreographic practice.
Sydney Dance Company’s Rehearsal Director.
18 sydneydancecompany.comDancers
Isabella Crain Sabine Crompton-Ward
Isabella started dancing at the age of 12 at Born in Hobart, Sabine began her early training
the Amanda Bollinger Dance Academy on the at Encore Dance and Theatre School and later
Gold Coast, Australia. In 2017 she moved to studied with House of Dance and Jenina’s
Switzerland to commence full-time training at Dance Workshop. In 2018 she moved to the
Rudra Béjart, where she had the opportunity Gold Coast to study a Certificate IV in Dance at
to perform with the Béjart Ballet Lausanne in Dance Force. After discovering an interest in
The Rite of Spring. After graduating in 2019, contemporary dance, Sabine completed her
she participated in the Brisbane International Diploma and Advanced Diploma of Dance with
Contemporary Dance Prix where she was Sydney Dance Company’s Pre-Professional Year
awarded Senior Winner and offered numerous in 2019 and 2020. During that time, she had the
placement opportunities. In 2020, Isabella opportunity to perform in works by Vicki Van
completed her placement with the Australasian Hout, Idan Cohen, Leah Marojević, Holly Doyle,
Dance Collective before traveling to the Jessica Goodfellow and Omer Backley-
Netherlands to work with Introdans on Akram Astrachan, as well as excerpts from Rafael
Khan’s piece KAASH. She took up a placement Bonachela’s Lux Tenebris and 6 Breaths. In 2020
with Sydney Dance Company later in the year, Sabine performed in Stephanie Lake’s Colossus
performing in New Breed. Isabella has joined as a part of Sydney Festival. Sabine appears with
the Company for the season of Impermanence. Sydney Dance Company in 2021 as a Trainee.
Davide Di Giovanni
Davide started his dance life at the Teatro
Alla Scala in Milan when he was 15. He then
received a full scholarship to study at the
renowned ballet school Balletto Di Toscana,
joining the junior company at 17. After three
years with the Balletto Di Toscano, Davide
joined Balletto dell’Esperia in Turin, where
he met Jacopo Godani, Gustavo Ramirez
Sansano and William Forsythe. He then moved
to Munich at 23, where he had the chance to
work for the Staatstheater am Gärtnerplatz
with choreographers Marco Göcke, Alexander
Ekman and Jø Strømgren. He danced One Flat
Thing, reproduced by William Forsythe, and
worked on new creations with Christopher
Roman, Nanin Linning, Georg Reischl and
Jacopo Godani. Davide joined Sydney Dance
Company in 2017.
19 #2021SDCDancers
Dean Elliott Jacopo Grabar
Dean began his dance training in Auckland, Italian born Jacopo trained at Ateneo della
New Zealand at age 17. In 2018, he graduated Danza in Siena. In 2012 he joined Balletto
from Ev and Bow Full-time Dance Training di Siena as an apprentice and graduated to
Centre in Sydney. During his time there, full time dancer in season 2013 –14. Jacopo
he worked with many Australian dance received his American Ballet Theatre NTC
professionals and performed in works by diploma in 2013, before joining Baltic Dance
choreographers Larissa McGowan, Anton, Theatre (Gdańsk, Poland) the following
Robbie Curtis and Adam Blanch. In 2018, year where he worked with choreographers
Dean appeared as a special guest artist in including Jiří Kylián, Patrick Delcroix and
the Sydney City Youth Ballet’s Australian Tour the director, Izadora Weiss. In 2015 he
of Together Live, performing in Lucas Jervies’ joined ImPerfect Dancers Company (Pisa,
PowerHouse. Dean played the role of Young Italy), directed by Walter Matteini and Ina
Brett Whitely in Theatre of Image’s Brett and Broeckx and in August 2016 joined Ballet des
Wendy… A Love Story Bound by Art directed Stadttheater Bremerhaven, under the direction
by Kim Carpenter and choreographed by of Sergei Vanaev, where he worked with Itzik
Lucas Jervies. Dean joined Sydney Dance Galili and Ed Wubbe. Jacopo joined Sydney
Company in 2019. Dance Company in August 2018.
Riley Fitzgerald Liam Green
Riley graduated from second year at the Having grown up in Perth, Liam trained with
New Zealand School Dance in 2018 and joined a range of local schools, including Dynamic
Sydney Dance Company in 2019 on his first Performing Arts and The Graduate College
professional full-time contract. Prior to training of Dance. At 15, Liam was accepted into
in New Zealand, he attended the Victorian the Advanced Diploma of Dance at WAAPA,
College of the Arts Secondary School for the youngest to enter the program. Liam
three years. In 2014, he performed a lead role worked with the West Australian Ballet for
in his first professional performance, Vertical five years, ending his time at the Company
Shadows Dance Company’s The White Prince, as a Demi-Soloist, before joining Sydney
alongside highly regarded Australian dancers Dance Company in 2019. Liam’s repertoire
Damien Welch, Marc Cassidy, and Teagan is expansive and diverse, including works
Lowe. Whilst at the New Zealand School such as Radio and Juliet by Edward Clug, In
of Dance he performed works by critically Transit by Annabelle Lopez Ochoa and WOOF
acclaimed choreographers Damien Jalet by Melanie Lane. Liam has also completed
(Les Mèdusès, Volk Version) and Cheng a Bachelor of Commerce, majoring in
Tseng-lung (Wicked Fish). Finance and Economics, at The University
of Western Australia.
20 sydneydancecompany.comLuke Hayward Dimitri Kleioris
Luke was born in Alice Springs and received Dimitri is a graduate of The Australian Ballet
his early training at Central Dance Theatre School. He has performed leading roles
and Alice Springs Gymnastics before moving internationally including on Broadway in An
to Sydney to train at Tanya Pearson’s Classical American In Paris, Opera Australia’s Death in
Coaching Academy and Studio Tibor. He Venice and The Anatomy of a Passing Cloud
then furthered his studies in Germany by with the Royal New Zealand Ballet. He
completing a Bachelor of Dance at Palucca particularly enjoys the process of creation and
Hochschule für Tanz Dresden. While there, has worked with the likes of Meryl Tankard,
Luke interned at Yuval Pick’s National Javier de Frutos, Christopher Wheeldon and
Choreographic Center De Rillieux-la-Pape with Robert Wilson at the Watermill Centre.
and Elena Tupyseva’s Balet Moskva. Upon Dimitri has performed in various film and
graduating with Honours, he received the television shows including Flesh and Bone, on
Ingrid-Biedenkopf-Stipendium and accepted which he was a series regular.
a contract with Theater Balet Moskva in
Moscow, where he joined their Ballet troupe Rhys Kosakowski
and Contemporary troupe as a Soloist for the Rhys Kosakowski, a classical ballet and
2016/17 Season. Luke joined Sydney Dance contemporary dancer originally from
Company in 2019. Newcastle, strives to embrace his creativity
through the art of rhythm and dance. Rhys’
Telea Jensen passion for movement has propelled him to
Telea started ballet when she was 5 years success; he performed with Houston Ballet
old and completed her early dance training Company for 6 years as a Corps de Ballet
in Toowoomba with Garden City Dance. After dancer and played Billy in Billy Elliot The
finding an interest in contemporary, she Musical (Australia 2007) as one of the original
then completed a Diploma of Dance with four Billys. After slowly building a following
Queensland College of Dance in Brisbane in the dance industry, Rhys entered the
and performed with youth companies such fashion industry and shot with globally-known
as Merge Dance Theatre, Expressions Dance photographers whilst also collaborating with
Company’s Youth Ensemble, and Brisbane artists and videographers. Rhys is passionate
City Youth Ballet. In 2019, Telea studied an about breaking the stereotype of femininity
Advanced Diploma of Dance with Sydney associated with male ballet dancers and
Dance Company’s Pre-Professional Year combining the qualities of fashion and artistry
and received a scholarship from the Doug with the movement of dancing.
Hall Foundation. Throughout the year she
had the opportunity to perform works by
choreographers Idan Cohen, Vicki Van Hout,
Leah Marojević and Rafael Bonachela. Telea
was the 2020 Trainee and appears in the
Impermanence season.
21 #2021SDCDancers
Chloe Leong Emily Seymour
Chloe started dancing at the age of six Sydney born, Emily Seymour began her
at Sydney’s Brent Street studios, and later training in all styles of dance at All Starz
studied at Lindfield’s Ecole Ballet and Dance Performing Arts Studio and later studied
Theatre. In 2010 she completed three years full-time ballet at Tanya Pearson Classical
training at London’s Rambert School of Coaching Academy. In 2016, Emily was a
Ballet and Contemporary Dance. Chloe member of Houston Ballet II for two years,
moved to Barcelona in 2012 to join the junior following a year as an Apprentice with
contemporary company IT Dansa under the Houston Ballet Company. While in Houston,
direction of Catherine Allard. During her two Emily performed in works by Stanton Welch,
years with the Company she performed works Alexander Ekman, John Neumeier, George
by Rafael Bonachela, Alexander Ekman, Ohad Balanchine and many more. Emily joined West
Naharin and Sidi Labi Cherkaoui. Chloe joined Australian Ballet as a Young Artist for one
Sydney Dance Company in 2015. She won year before joining Sydney Dance Company
the 2015 Helpmann Award for ‘Best Female in 2018. Emily’s first performance with the
Dancer’ for her performance in William Company was at the Théâtre National De
Forsythe’s Quintett. Chloe made her Chaillot in Paris, followed by Sydney Dance
choreographic debut in New Breed 2020 Company’s European Spring Tour. Since joining
with her piece Nostalgia. the Company, Emily has performed in Rafael
Bonachela’s ab [Intra], Frame of Mind and Lux
Jesse Scales Tenebris; Melanie Lane’s WOOF; and Gabrielle
Born in Hobart, Jesse is from Adelaide Nankivell’s Wildebeest and Neon Aether.
where they trained with Terry Simpson and
received the RAD Solo Seal. They received
full scholarships to study with Complexions
Contemporary Ballet in New York and
Nederlands Dans Theatre in The Hague and
went on to major in classical ballet at the New
Zealand School of Dance. Since joining Sydney
Dance Company in 2012, Jesse performed
a feature role in the Australian premiere of
William Forsythe’s Quintett for which they
were awarded the 2015 Green Room Award
for ‘Best Female Dancer’ and a nomination for
the 2015 Helpmann Award for ‘Best Female
Dancer’. Jesse made their choreographic
debut in Sydney Dance Company’s 2016 New
Breed season, and choreographed Inertia in
New Breed 2020. In 2017, the Dance Australia
Critics’ Choice Survey named Jesse as ‘Most
Outstanding Dancer’.
22 sydneydancecompany.comMia Thompson Mia was born in Queensland and started her dance training at the age of four with the Yvonne Brittain Dance Academy. She went on to join Queensland Ballet’s Pre-Professional Year in 2010 where she performed alongside the Company in many productions. In 2011 Mia joined West Australian Academy of Performing Arts (WAAPA). After completing two years at WAAPA, Mia accepted a job with Queensland Ballet under the directorship of Li Cunxin. After three years with the Queensland Ballet, Mia joined Scottish Ballet as an artist in 2016 and was promoted to First Artist in 2018. Her highlights include the role of the Sugar Plum Fairy in Peter Darrell’s The Nutcracker. Mia joined Sydney Dance Company in January 2019. Chloe Young Chloe graduated from Queensland National Ballet’s Advanced Diploma in Elite Performance in 2016. Chloe appeared as special guest artist at the Alana Haines Australian Awards (2017) and the Press Freedom Dinner (2017), with Queensland National Ballet as Alice in Alice in Wonderland, as a soloist in Mulan, and Phyrgia in Spartacus. In 2017, Chloe graduated from Sydney Dance Company’s Pre-Professional Year and joined the Company as Trainee in 2018. Chloe’s first onstage performance with the Company was in Rafael Bonachela’s award- winning works Frame Of Mind and Lux Tenebris during the Company’s South America Tour to Chile and Colombia in 2018. She has since performed in Gabrielle Nankivell’s Wildebeest, Anthony Hamilton’s Forever and Ever in 2018, Melanie Lane’s WOOF, and Bonachela’s Cinco as well as award-winning ab [intra] in 2019. 23 #2021SDC
Our Partners
Government Partners
Sydney Dance Company is assisted by the Australian Sydney Dance Company is supported
Government through the Australia Council for the Arts, by the NSW Government through
its arts funding and advisory body. Create NSW.
New Breed Season Supporter
Media Partner
Foundation Partners
Company Partners
Associate Partners
Government Supporters
Supporters
Bennelong Event Hire, CAPI, Committee for Sydney, Stedmans, Tattersalls Club Hyde Park, UTS Business School
24 sydneydancecompany.comPhoto: Pedro Greig 25 #2021SDC
sydneydancecompany.com @SydneyDanceCo #2021SDC 26 sydneydancecompany.com
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