1962
Now

Scroll to explore the history of the Australian Ballet

Prologue
1960
1970
1980
1990
2000
2010
2020

The Australian Ballet. For now, forever, for you.

The Australian Ballet reflects the elegance, artistry and tradition of classical ballet. From our early days as the Borovansky Ballet to the future of the art form, we invite you to reflect on over 60 years of beauty, grace and exceptional ballet.

1960
1969

The 60s

Founded in 1962 under Artistic Director Peggy van Praagh, The Australian Ballet has delighted audiences with powerful performances of classical ballet to critical acclaim for over 60 years. Discover our rich history by scrolling through the decades below.

1962 Photo 011 Artistic Director Dame Peggy van Praagh East Melbourne studios Photo Aust News and Info Bureau Photo Keith Byron — Peggy van Praagh leads class at The Australian Ballet, 1962
Photo Keith Byron

The Borovansky Ballet

1943

Two decades before The Australian Ballet was founded, Czech-born dancer, Edouard Borovansky was setting the stage for a national ballet company. What began as a small dance school quickly evolved into a professional company and The Borovansky Ballet was born on the 14th of April,1943 making its debut at Her Majesty’s Theatre in Melbourne.

1962

3 September
The Australian Ballet Begins

In the winter of 1962, founding Artistic Director, Peggy van Praagh, travels to Australia from the United Kingdom to hold nationwide auditions for a brand-new ballet company. On the 3rd of September, the 46 successful dancers begin rehearsals from the East Melbourne studios.

2 November
The Company Debuts

Peggy van Praagh premieres Swan Lake at Her Majesty’s Theatre, Sydney. Erik Bruhn from The Royal Danish Ballet is in the role of the Prince, and Bulgarian ballerina Sonia Arova performs as Odette/Odile. The company uses sets and costumes from their predecessor, The Borovansky Ballet.

16 November
Melbourne Cup

The Australian Ballet premieres its first commissioned work, an overt piece of Australiana, Melbourne Cup. The piece, devised by Geoffrey Ingham and choreographed by Rex Reid features ballerina’s as ‘horses.’

December
Star Power

International ballet superstar Rudolf Nureyev arrives in Sydney to Join Erik Bruhn and Sonia Arova and take class in The Australian Ballet studios.

Opening Night 1962

“ There were something like twelve names in the jacket I was wearing. The smell of decades, and the remnants of greasepaint were encrusted around the neck, but for us, the night was magic. ” —
Colin Peasley, 1962

1963

June
The First International Tour

The Australian Ballet travels to New Zealand for its first international tour. Performing a wide range of repertoire from Swan Lake, Les Sylphides, The Lady and the Fool and Melbourne Cup, the tour is split in two in the second half of the year, with the twin companies performing in over 40 towns each.

1963_The Lady and The Fool — Caj Selling and Ray Powell, *The Lady and the Fool* (Cranko) 1963
Photo Darryl Smythe

“ … the dancers moved from town to town performing at local theatres or memorial halls. At each stop, the boys would lug the lights and scenery inside the venues where the stage was often as slippery as a frosty footpath... ” —
Luminous

1964

2 March
Training Day

The Australian Ballet School opens under the direction of Margaret Scott.

14 March
The Display

Robert Helpmann arrives with his trademark style and flair to premiere The Display. Set at a bush picnic, The Display references how male lyrebirds display their tails in courtship, outdoing one another in macho behaviour. The creative team of iconic Australians includes composer Malcolm Williamson and designer Sidney Nolan who created the unforgettable Lyrebird costume. Constructed with bamboo, horsehair and leather, the four-metre-long Lyrebird tail is forever etched in the history of The Australian Ballet.

1964 The Display PRT — Kathleen Gorham and Barry Kitcher, *The Display* (Helpmann)1964
Photo The Australian Ballet archives

The Australian Ballet School

2 March 1964

The first students at The Australian Ballet School walk into the studio to begin class. Established by Margaret Scott, the School is part of Peggy van Praagh’s artistic vision to provide specialised training for aspiring professional dancers and a way to complement the newly formed national company.
Discover more about The Australian Ballet School ⇾

1965

18 February
Co-Artistic Directors

Robert Helpmann is appointed Co-Artistic Director alongside Peggy van Praagh. The announcement is made as the curtain falls at the premiere of Yugen, Helpmann’s Japanese inspired ballet at Her Majesty’s Theatre, Adelaide.

6 August
The World Tour

The Australian Ballet head out on a five-month international tour across London, Paris, Berlin, Lebanon, Los Angeles and Hawaii. The dancers perform Rudolf Nureyev’s Raymonda in ancient temples and before English royalty with great success.

1965 International Tour — The Australian Ballet company pose before heading on their first overseas tour in 1965
Photo William Baxter

Parisian audiences give the dancers over 40 minutes of applause and those at the Theatre des Westens in Berlin receive a record-breaking 60 curtain calls.

1966

7 March
Moomba

The Australian Ballet perform Peggy van Praagh’s Swan Lake Act II at the Sidney Myer Music Bowl as part of Melbourne’s Moomba festival for 3000 lucky audience members. It is the first ever open-air performance by the company.

15 March
Elektra

Co-Artistic Director Robert Helpmann premieres his new work Elektra, designed by Australian artist Arthur Boyd in Adelaide.

25 March
Raymonda

Rudolf Nureyev’s Raymonda makes its Australian premiere in Adelaide.

Cast Sheets Melbourne Moomba 1966 07 03 1 — Cast sheet for The Australian Ballet's open-air performance at the *Moomba* festival

1967

February – July
Global Demand

The Australian Ballet embarks on a third international tour, this time visiting Canada, New Zealand, South America and Hawaii. When the theatre booked in Caracas, Venezuela is bombed, the artists and touring company relocate to Trinidad.

12 October – 6 December
Last Dance at the Tivoli

The Company perform Frederick Ashton's La Fille mal gardée at the Tivoli Theatre in Sydney. In a bittersweet event, this is both the first time a full-length Frederick Ashton ballet is performed in Australia and the final performance to be held at the Tivoli before its demolition.

25 November
1000!

The Australian Ballet gives its 1000th performance, a matinee of Coppélia.

1967 La Fille mal gardee — Marilyn Jones and artists of The Australian Ballet, *La Fille mal gardée* (Ashton) 1967
Photo The Australian Ballet Archives

Bargain Ballet

Enormous queues wind the streets of Sydney as The Australian Ballet introduces subscription tickets. Audience members under the age of 26 can enjoy the ballet for the bargain price of $3, while those under 16 can enjoy a performance for $2.

1968

January
From Tyres to Tutus

The Australian Ballet turn a former tyre factory into their home studio with the support of Melbourne City Council. The unique building in Flemington will be the company's base for the next 20 years.

February – April
Southeast Asian Tour

The Australian Ballet perform Swan Lake Act II, The Display, Raymonda Act III, Les Sylphides and The Lady and the Fool across Korea, Taiwan and Japan.

2 August
Sun Music

Robert Helpmann premieres Sun Music at Her Majesty’s Theatre in Sydney to a record-breaking number of audience members.

16 August
Threshold

John Butler premieres Threshold, in what is the first major contemporary dance piece created for The Australian Ballet by an internationally acclaimed choreographer.

1968 Flemington Ballet Centre — Artists of The Australian Ballet on top of the Flemington Studios, 1968
Photo The Australian Ballet archives

Sun Music

“ Sun Music was an attempt to be big and bold and I loved being part of it. It felt like doing something ‘now’. ” —
Graeme Murphy, 1968

1969

20 May
PNG

The Australian Ballet tour to Papua New Guinea and perform van Praagh's Giselle on a football oval in Port Moresby.

11 July
Anthony Tudor

Renowned New York-based choreographer Anthony Tudor arrives in Australia to stage his 1942 work Pillar of Fire and create a brand-new work on The Australian Ballet dancers, The Divine Horsemen.

8 August
Rowe & Coe

Marilyn Rowe and Kelvin Coe debut what will be an iconic artistic partnership in Igor Moiseyev’s The Last Vision. Both Rowe and Coe are promoted to the rank of principal artist in 1968, along with Alan Alder.

“ Great stars take a long time to develop. We are trying to develop our own style with all-round excellence. ” —
Peggy van Praagh

1960s Repertoire

In order of premiere date

From Swan Lake in 1962 to Pillar of Fire in 1969, The Australian Ballet's first decade introduced 38 pieces into the company's mainstage repertoire.

HIS 1960s Rep — Betty Pounder with Robyn Croft and Douglas Gilchrist rehearsing *Jazz Spectrum* (Pounder) 1964
Photo Terry Phelan

1970
1979

The 70s

A tumultuous decade of change, cinematic breakthroughs and discovery. From Don Quixote on the screen to the emergence of choreographer Graeme Murphy, the 70s kept everyone on their toes, on and off the stage!

1975 The Merry Widow — Jonathan Kelly and Marilyn Jones, *The Merry Widow* (Hynd) 1975
Photo David Parker

1970

4 March
Don Quixote

Rudolf Nureyev and Robert Helpmann premiere Don Quixote in Adelaide with Lucette Aldous in the role of Kitri, Helpmann performing as Don Quixote and Nureyev as Basilio.

Don Quixote 00579 — Robert Helpmann and Rudolf Nureyev, 1970
Photo The Australian Ballet archives

1971

8 July
Homegrown Talent

The Australian Ballet holds the first of what will be many choreographic workshops. Presented at the Princess Theatre in Melbourne, five emerging choreographers are given the opportunity to debut their own original work. The inaugural group consists of Don Asker, John Meehan, Graeme Murphy, Ian Spink and Leigh Warren, who will all achieve major success and become Artistic Directors at companies across the globe.

HIS 1971 Flemington rehearsals — John Meehan, Joseph Janusaitis, Gailene Stock and artists of The Australian Ballet, 1971
Photo Paul Cox

1972

17 March
A Decade of Dance

The Australian Ballet celebrates their ten-year anniversary with the Australian premiere of Frederick Ashton’s Cinderella. Robert Helpmann and Frederick Ashton reprise the roles of the Ugly Stepsisters to the audiences' delight.

Composer and Conductor John Lanchbery is appointed to the role of Music Director at The Australian Ballet. Lanchbery will work on some of the companies best-loved productions, including The Merry Widow with Ronald Hynd in 1975.

“The finest conductor for dance of his generation and probably well beyond." - Maina Gielgud on John Lanchbery

19 July

Robert Helpmann and Rudolf Nureyev return to Don Quixote, this time creating a cinematic version of the ballet in a genre-defining production that changes how ballet is presented on film.

Robert Helpmann Gary Bowles Ray Powell Frederick Ashtons Cinderella Act III Photography Branco Gaica 1980 — Robert Helpmann, Gary Bowles and Ray Powell, *Cinderella* (Ashton) 1972
Photo Branco Gaica

Don Quixote 00556 — Robert Helpmann, *Don Quixote* (Nureyev) 1972
Photo The Australian Ballet archives

Don Quixote 1972

Filmed in an airplane hangar over three weeks in blistering Australian heat, Don Quixote featured Marilyn Rowe as Queen of the Dryads, Lucette Aldous as Kitri and both Nureyev and Helpmann in their roles as Basilio and Don Quixote.

“ The heat and intimacy of the camera created a very different scenario from that of the stage. No matter what make-up was applied to Marilyn Rowe’s shoulders in her role as the street dancer, her shoulder straps showed on screen. The only thing to do was to remove them. To make sure her costume — now strapless when it was never intended to be — stayed where it should, the bodice was glued to her skin. ” —
Jill Sykes, Luminous

1973

6 April
Gemini

The world premiere of Gemini is performed at the Elizabethan Theatre, Newtown. Choreographer Glen Tetley creates the lead roles on Marilyn Rowe, John Meehan, Gary Norman and Carolyn Rappel.

7 December
The Sleeping Beauty

The Australian Ballet performs the world premiere of The Sleeping Beauty at the brand-new venue, the Sydney Opera House. Designed by Kenneth Rowell, directed by Helpmann and produced by van Praagh, The Sleeping Beauty also marks the farewell performance of Garth Welch, who had danced the leading male role of every classical work staged by the company.

1973_Gemini Tetley Marilyn Rowe Credit Gregory Weight 1 — Marilyn Rowe, *Gemini* (Tetley)
Photo Gregory Weight

1867047 TAB The Sleeping Beauty van Praagh Helpmann Lucette Aldous Rodney Smith Gary Norman Credit John Walsh — Lucette Aldous and Rodney Smith, *The Sleeping Beauty* (van Praagh & Helpmann)
Photo John Walsh

June 1973

Kelvin Coe and Marilyn Rowe win silver medals at the second International Ballet Competition in Moscow.

1974

7 June
Challenges and Change

While recovering from a hip operation, Artistic Director Peggy van Praagh receives a phone call from The Age newspaper asking for comment on her resignation from the company. Unaware of this development, van Praagh is devastated when it is confirmed by the company chairman on 11 June 1974.

28 November
Romeo and Juliet

John Cranko’s Romeo and Juliet is performed for the first time in Australia at the Sydney Opera House. Lucette Aldous and Kelvin Coe play the star crossed lovers in the production led by Anne Woolliams.

1974 Romeo And Juliet Cranko Kelvin Coe Lucette Aldous Credit David Parker — Kelvin Coe and Lucette Aldous, *Romeo and Juliet* (Cranko)1974
Photo David Parker

1975

November
The Merry Widow

The Merry Widow opens at Melbourne’s Palais Theatre with Marylin Rowe and John Meehan in the roles of Hanna (the Widow) and Count Danilo. The fanfare surrounding the production was unlike anything the company had experienced before, and the success of the ballet, both commercially and critically, would continue for decades.

Based on the Franz Lehár operetta and arranged by John Lanchberry and Alan Abbot, the three-act ballet choreographed by Ronald Hynd and designed by Desmond Heeley would tour to America the following year with guest stars Rudolf Nureyev and Margot Fonteyn in the lead roles.

“They went crazy. It was totally thrilling. I’ve never had such an exciting night in the theatre as that opening night.”
- John Meehan after the 1975 premiere of The Merry Widow

Merry Widow Kelvin Coe Marilyn Rowe John Meehan in The Merry Widow 1975 Photo David Parker — Kelvin Coe, Marilyn Rowe, John Meehan and artists of The Australian Ballet, *The Merry Widow* (Hynd) 1975
Photo David Parker

The Merry Widow 1975 — Marilyn Rowe and John Meehan, *The Merry Widow* (Hynd) 1975
Photo David Parker

Fool on the Hill

October 1975

To celebrate the introduction of colour television in Australia, The Australian Ballet commissioned CATS choreographer Gillian Lynne to create a new work, Fool on the Hill. A non-narrative ballet set to songs composed by The Beatles, the production was filmed by the Australian Broadcasting Corporation and broadcast on national television in October 1975. The following year, Fool on the Hill featured in a triple bill mainstage production in Sydney and Melbourne.

1976

September
Turning Pointe

Anne Woolliams is announced as the incoming artistic director, replacing Robert Helpmann. Woolliams' tenure lasts less than a year, but her influence is significant; she introduces new choreographers and contemporary movement into the company and makes her indelible mark with the beloved version of Swan Lake.

29 October
Ballet '76

Choreographer Graeme Murphy premieres Glimpses as part of a series of new works in Ballet ’76. By the end of the year Murphy would take on the role of artistic director at Sydney Dance Company and go on to inspire and nurture the careers of Stephen Page and Gideon Obarzanek.

2019090 TAB Glimpses Murphy Janet Vernon Ross Stretton Credit David Parker — Janet Vernon and Ross Stretton, *Glimpses* (Murphy) 1976
Photo David Parker

1977

Peggy Returns!

In need of a new leader, The Australian Ballet turns to founding Artistic Director, Peggy van Praagh, who takes on the role at the age of 68 with the same determination and creative energy she had delivered in 1962.

19 October
Swan Song

Anne Woolliams’ Swan Lake premieres at Melbourne’s Palais Theatre to mark 100 years since the original production was performed by the Bolshoi Ballet. The much-loved version is Woolliams' parting gift to the company before she leaves to found the dance school at the Victorian College of the Arts.

1735870 TAB Christine Walsh Craig Sterling Credit Branco Gaica — Christine Walsh and Craig Sterling, *Swan Lake* (Woolliams) 1977
Photo Branco Gaica

1978

New Repertoire Leads the Way

With Peggy van Praagh back at the helm, The Australian Ballet expands their repertoire to include Jiří Kylián’s Symphony in D, László Seregi’s Spartacus, Graeme Murphy’s Tekton, and, as a condition of her return, the first Jerome Robbins piece performed by the company, Afternoon of a Faun.

Symphony in D 08673 — Artists of The Australian Ballet, *Symphony in D* (Kylián) 1978
Photo Branco Gaica

1979

23 February
A Tribute to Borovansky

In a season dedicated to Borovansky, the company opens the year with Peggy van Praagh's Coppélia. Designed by Kristian Fredrikson and produced by George Ogilvie, the gothic fairytale captivates audiences within a jam-packed program of works by Barry Moreland, André Prokovsky, Jerome Robbins and Sir Kenneth Macmillan.

6 July
Boss Ballerina

In an unprecedented move, The Australian Ballet announces that former dancer of both the Borovansky and The Australian Ballet, Marilyn Jones, will take on the role of artistic director. Never before had a dancer made the switch into an executive position. With her unique knowledge of both the local and international ballet world and deep loyalty to the company as a founding member, Jones’ period as artistic director honours the classical traditions and history of The Australian Ballet.

The Merry Widow 01015 — Marilyn Jones, *The Merry Widow* (Hynd) 1975
Photo William Baxter

Coppélia

“ Ever since the early forties, Coppélia seems to have been part of my life. ” —
Peggy van Praagh

1970s Repertoire

The Australian Ballet’s repertoire expands to include contemporary gems and beloved classical commissions that remain as popular now as they did in the 70s.

1980
1989

The 80s

The big, bold, brash eighties arrived, and along with them, a new artistic director, the grand opening of the Victorian Arts Centre and State Theatre, as well as a new home studio just over the bridge in Southbank.

TAB The Sleeping Beauty Gielgud Photo Branco Gaica 198412 — Andrea Toy, *The Sleeping Beauty* (Gielgud) 1984
Photo Branco Gaica

1980

21 March
Borovansky’s Legacy

The Company launches into the decade with a vibrant tribute to the ‘grandfather’ of The Australian Ballet, Edouard Borovansky. Conceived by Marilyn Jones, A Tribute to Borovansky includes Mikhail Fokine’s Schéhérazade, John Cranko’s Pineapple Poll and David Lichine’s Graduation Ball.

8 May
Beyond Twelve

Graeme Murphy’s Beyond Twelve makes its world premiere at the Sydney Opera House.

31 May
The Dancers Company

Marilyn Jones establishes The Dancers Company to provide opportunities for The Australian Ballet School's graduating students to perform alongside the company dancers and gain valuable professional experience. Sets and staging are modified to allow specific productions to tour areas of the country where the full company is unable to perform.

21 June
A World-First Tour to China

The Australian Ballet is the first major ballet company to visit the People’s Republic of China post the Cultural Revolution. Performing Rudolf Nureyev's Don Quixote, the televised performance reaches an audience of over 200 million people throughout China.

Pineapple Poll 07760 — Lynette Mann, *Pineapple Poll* (Cranko) 1980
Photo Branco Gaica

The Dancers Company 1980 03586 — Julie da Costa and Marilyn Jones rehearsing for the first tour of The Dancer’s Company
Photo Branco Gaica

Deafening Applause

“ It was deafening! ” —
Colin Peasley on the audience reaction in China

1981

September
HRH

A special performance of Onegin is given in the presence of Her Majesty Queen Elizabeth II.

October
Strike

In response to contract changes and increased demands, the dancers go on strike for 26 days, leading to the cancellation of seasons until a resolution can be reached. Principal Artist Kelvin Coe is the face of the strike, and many allies rally around the dancers, including former Artistic Director Anne Woolliams, who ensures the dancers are financially supported and can continue to attend classes, pay rent and buy food.

Onegin 04848 — Michela Kirkaldie and Gary Norman, *Onegin* (Cranko) 1981
Photo Branco Gaica

1982

January
Uncertain Times

The dancers return to work for the Sydney season of The Merry Widow. Principal Artist Marilyn Rowe is appointed to the newly created position of Ballet Director and after five years in the role, Artistic Director, Marilyn Jones announces her resignation.

8 October
The Nutcracker

Leonard Koslov's new version of The Nutcracker created on The Australian Ballet makes its world premiere.

1870174 TAB The Nutcracker Kozlov Kozlova Valentina Kozlova Simon Dow Credit Athol Shmith — Valentina Kozlova and Simon Dow, *The Nutcracker* (Kozlov & Kozlova) 1982
Photo Athol Shmith

1983

January
The Gielgud Years

British dancer Maina Gielgud is appointed Artistic Director of The Australian Ballet. After a tumultuous few years, Gielgud says her focus is on rebuilding the company and championing the exciting breadth of emerging talent.

17 September
A 21st Birthday Party on the (Swan) Lake

To celebrate the 21st anniversary of The Australian Ballet, Anne Woolliams’ Swan Lake is simulcast on ABC TV and FM radio from the Adelaide Festival Theatre to an estimated audience of over five million. Maina Gielgud invites fan-favourite artists Kelvin Coe and Marilyn Jones to dance the roles of Prince Siegfried and Odette, with French ballerina Sylviane Bayard performing the role of Odile in Act III.

1735876 TAB Sylviane Bayard Kelvin Coe Credit Vincent Conroy — Kelvin Coe and Sylviane Bayard, *Swan Lake* (Woolliams) 1983
Photo Vincent Conroy

1984

30 October
Unveiling the State Theatre

The Australian Ballet is honoured to open the State Theatre in Melbourne with the premiere of Maina Gielgud's The Sleeping Beauty. Christine Walsh performs in the role of Princess Aurora and David Ashmole dances as Prince Florimund. Accompanied by the Elizabethan Melbourne Orchestra with guest conductor Barry Wordsworth, the dancing continues after the curtain falls and into the night with an onstage party to celebrate.

Discover more about The State Theatre’s history→

TAB The Sleeping Beauty Gielgud Photo Richard Wallis 19849 — David Ashmole and Christine Walsh, *The Sleeping Beauty* (Gielgud) 1984
Photo Richard Wallis

1985

8 May
The Sentimental Bloke

Robert Ray premieres The Sentimental Bloke at the Sydney Opera House. Set in Melbourne in 1913, the ballet is based on CJ Dennis’ poems The Songs of a Sentimental Bloke. The opening night cast included Steven Heathcote as Bill, Christine Walsh as Doreen, Mark Annear as Ginger Mick, Elizabeth Toohey as Rose, David McAllister as Mr Smithers and Edna Edgley as Mar.

August
From the Ashes

Tragedy strikes during the 1985 tour of Whyalla, South Australia. A massive blaze at Middleback Theatre destroys the sets of Peggy van Praagh’s production of Giselle, eerily leaving only the cross from the heroine’s grave standing. The ‘holy ballet’, as it is known in Russia, is reborn three years later when Maina Gielgud stages her version to critical acclaim.

1866436 TAB The Sentimental Bloke Ray Artists of TAB Credit Branco Gaica 1985 1 — Artists of The Australian Ballet, *The Sentimental Bloke* (Ray) 1985
Photo Branco Gaica

Giselle 00811 — Christine Walsh and Jonathan Kelly, *Giselle* (van Praagh) 1985
Photo David Parker

Ballet Bloke

“ The Sentimental Bloke literally brought cries of delight from the be-sequinned first-night audience. ” —
The Daily Mirror

1986

6 May
Farewell to the (Red) King

Ninette de Valois’ Checkmate makes its The Australian Ballet debut at the Sydney Opera House. Sir Robert Helpmann reprises the role of the Red King (created on him in 1937) in what will be his last season with the company. Helpmann’s gift for dramatic and character roles will be missed when the treasured icon of the arts and entertainment industry passes away only a few weeks later.

Checkmate 05284 1 — Robert Helpmann, *Checkmate* (de Valois) 1986
Photo Grant Hancock

“ Dame Ninette de Valois' Checkmate is a very special gift from "Madam" ... to Australian dance, in homage to our dancers' contribution to British ballet, and in particular that of Sir Robert Helpmann. ” —
Artistic Director Maina Gielgud,
1986 Program Note

1987

20 February
Tetley's Greek Tragedy

After the success of Glen Tetley’s previous collaborations with The Australian Ballet; Gemini, The Rite of Spring and Voluntaries, the renowned choreographer premieres his contemporary ballet, Orpheus. Based on the ancient Greek myth of the musician Orpheus who enters the underworld in search of his wife Eurydice, the tragic tale is brought to life by The Australian Ballet’s opening night cast of David Ashmole as Orpheus and Ulrike Lytton as Eurydice.

Orpheus 01540 — Steven Heathcote and Christine Walsh, *Orpheus* (Tetley) 1987
Photo Branco Gaica

“ Tetley has created for them a pas de deux of great lyrical beauty, full of yearning and a sense of loss. ” —
Helen Thomson, The Australian

1988

18 February
Home Sweet (Southbank) Home

The Australian Ballet moves to its new purpose-built home in Southbank, Melbourne.

April
Aussie First

Elizabeth Toohey and David McAllister are the first dancers from The Australian Ballet to be invited by the Kirov (now the Mariinsky) Ballet to perform as guest artists.

9 November
Ballade

To celebrate 25 years as Australia’s national ballet company, The 25th Anniversary Choreographic Competition is held in Melbourne. Thirty-seven applicants are whittled down to seven, with Stephen Baynes choreographing the winning production, Ballade.

Giselle USSR 07414 — David McAllister and Elizabeth Toohey, *Giselle* (van Praagh) 1988
Photo The Australian Ballet archives

"When we think back to the Yarra banks before the National Gallery moved here and before the Arts Centre was built, we realise that here was a site that indeed was a Sleeping Beauty. With the Victorian College of the Arts and the Performing Arts Museum and now the Australian Ballet Centre, that site has been converted into a brilliant Arts City of international stature."

- Prime Minister Bob Hawke on the opening of The Australian Ballet Centre, 18 February 1988

1989

August
Encore in Southeast Asia

The Company returns to Southeast Asia, performing Maina Gielgud’s Giselle in Singapore and Thailand and a triple bill of Suite en blanc, Four Last Songs and Graduation Ball in addition to Romeo and Juliet in Taiwan.

1989 Taiwan 04231 — Artists of The Australian Ballet, Taiwan 1989
Photo The Australian Ballet archives

1980s Repertoire

The 1980s lived up to the hype as Maina Gielgud introduced a whole new world of choreographers to The Australian Ballet, bringing the repertoire firmly into the modern era.

1980s The Australian Ballet Repertoire — Christine Walsh, *The Sleeping Beauty* (Gielgud) 1984
Photo Richard Wallis

1990
1999

The 90s

A defining decade of The Australian Ballet as the dot.com era booms, grunge takes centre stage, and ballet finds its feet between the conservative and the avant-garde.

Divergence 06233 1 — Justine Summers in the iconic tutu designed by Vanessa Leyonhjelm for Stanton Welch's *Divergence* in 1994
Photo Jim McFarlane

1990

15 January
'An Elegant Woman'

The Australian Ballet’s founding Artistic Director, Peggy van Praagh, passes away at age 79. Peggy’s funeral service is held at Melbourne's St Paul’s Cathedral and is attended by over 500 mourners. The pallbearers are the dancers Stephen Baynes, Mark Brinkley, Kelvin Coe, Graeme Murphy, Gary Norman and Leigh Warren. Peggy’s legacy and love for dance lives on through the company she founded and all those whose lives have been touched by the magic of ballet. Peggy is posthumously recognised for her contribution to ballet in Australia and inducted into the Hall of Fame at the 2000 Australian Dance Awards.

"She was an elegant woman who loved dancing." - Ross Stretton on Dame Peggy van Praagh

May
Catalyst

Stephen Baynes' first commissioned work, Catalyst, premieres during the 1990 mainstage season, going on to receive an Olivier Award nomination in 1992.

Peggy van Praagh as Swanilda in Coppelia 1 — Peggy van Praagh as Swanhilda in *Coppélia* c.1940s
Photo The Australian Ballet archives

Spartacus

February

Steven Heathcote is the quintessential poster boy for Spartacus, adorning billboards both in Australia and across the world as the Roman gladiator.

“ There’s more action in the ballet Spartacus, which opened last night in the State Theatre, than in Lygon St at three on a Saturday morning. ” —
Clark Forbes, The Sun

1991

18 October
Of Blessed Memory

Stanton Welch premieres his tribute to mothers everywhere with Of Blessed Memory at the State Theatre in Melbourne. The production is made all the more sentimental with Welch’s own mother, former Principal Artist and Artistic Director Marilyn Jones, performing in the piece as a guest artist. Of Blessed Memory is later presented during the 1992 international tour.

November
Nureyev's Farewell Tour

The Australian Ballet dancers Sian Stokes and Campbell McKensie appear alongside Rudolf Nureyev during his farewell tour.

Of Blessed Memory 01520 — Vikki Maree Attard, Marilyn Jones and Justine Summers, *Of Blessed Memory* (Welch) 1991
Photo Earl Carter

“ Jones’s contribution to Of Blessed Memory is unfailingly serene. ” —
David Dougill,
The Sunday Times, London

1992

12 March
Nutcracker – The Story of Clara

Graeme Murphy premieres the company’s third version of the Christmas classic ballet, Nutcracker, at the Sydney Opera House. The title is later changed to Nutcracker – The Story of Clara and features Clara in different life stages: as an ageing former prima ballerina in the sweltering Melbourne heat of the 1950s, as a world-famous dancer of the Russian Imperial Ballet forced to flee during the Revolution, and as a young child striving towards perfection at the Imperial Conservatoire. The opening night performance features Kelly-Ann Farrugia as Clara The Child, Miranda Coney as Clara The Ballerina and Murphy’s mentor Dame Margaret Scott as Clara The Elder.

“It’s not the story of Nutcracker, but of a woman’s voyage”
- Graeme Murphy

July
Farewelling a star

Kelvin Coe passes away in Melbourne at the age of 45. Kelvin’s incredible career with The Australian Ballet saw him dance with Dame Margot Fonteyn in 1967’s Raymonda and return to the role of Albrecht in Giselle, 20 years after he premiered it. His final performance had only been the previous December, as one of the Ugly Sisters in The Australian Ballet School’s production of Cinderella.

1992 Margaret Scott Clara the Elder Nutcracker Photo Jim Mc Farlane 1 — Margaret Scott as Clara The Elder in *Nutcracker - The Story of Clara* (Murphy) 1992
Photo Jim McFarlane

The Australian Ballet heads out on an international tour across Italy and London. The jewel in this crown being the chance to perform for Diana, Princess of Wales, during the Royal Gala performance of Coppélia at the London Coliseum.

“ She was absolutely radiant – a vision in a long peach and cream gown to her ankles, and so much more beautiful than even the best photographs of her. ” —
David McAllister

1993

7 January
A History Defining Artist

Famed dancer and choreographer Rudolf Nureyev passes away. Nureyev’s frequent collaborations with The Australian Ballet helped shape the company and in turn changed how ballet is viewed with the revolutionary film Don Quixote.

“I don’t think this would have been the same company without him.” - Maina Gielgud on Rudolf Nureyev

21 January
10 Years with Maina

Maina Gielgud celebrates her 10th anniversary as artistic director of The Australian Ballet.

Song of the Earth 08356 — Maina Gielgud and Sir Kenneth MacMillan, 1987
Photo Branco Gaica

Rudolf Nureyev photographer unknown — Rudolf Nureyev
Photo The Australian Ballet archives

“ The ten best years of my life. ” —
Maina Gielgud, 1993

1994

1 September
Divergence Debuts

Stanton Welch premieres the neo-realist ballet, Divergence, at Melbourne’s State Theatre. The evocative and memorable costumes include tutus constructed from 15 metres of air conditioning mesh, painted black by an automotive painter. Designer Vanessa Leyonhjelm created the architectural and sculptural costumes that one reviewer described as 'Ballet goes grunge'.

November
Resident Choreographers Announced

Maina Gielgud appoints both Stephen Baynes and Stanton Welch as the company’s first resident choreographers.

Divergence 00463 — Designer Vanessa Leyonhjelm with artists of The Australian Ballet, *Divergence* (Welch) 1994
Photo Jeff Busby

Sacred Space 01913 — Stanton Welch, *Sacred Space* (Moreland) 1995
Photo Branco Gaica

“ If anyone hit you, it was so solid you could be shoved right across the stage. ” —
Lynette Wills

1995

21 November
The Next Step

Ross Stretton is announced as the next artistic director of The Australian Ballet. Stretton will officially begin in the position in 1997.

1995 Ross Stretton — Ross Stretton
Photo The Australian Ballet archives

1996

January
The Best for Last

For Maina Gielgud’s last season as artistic director, she curates an exciting year of ballet, including William Forsythe’s boundary-pushing In The Middle, Somewhat Elevated.

27 September
'A Grand Lady'

In a fitting tribute to The Australian Ballet’s Artistic Director of 13 years, the Company performs in a gala event to celebrate Maina Gielgud. There are over 20 different pieces performed over the evening that tries to encompass Maina’s incredible contribution to the company.

“Maina is a true international grand lady of the ballet.” - Anne Woolliams 1996

“ An understanding that it’s not sufficient to have talent, natural facility and stagecraft, but that you need to work really hard, and that’s interesting, not just a chore. ” —
Maina Gielgud on what she hoped would be her legacy

1997

January
A Different Direction

Former Principal Artist of The Australian Ballet, Ross Stretton, officially begins his tenure as artistic director of The Australian Ballet. Stretton’s 1997 season includes the introduction of provocative New York choreographer Twyla Tharp and the Australian premiere of her work In The Upper Room.

29 October
Culture Clash

As part of the Melbourne Festival, The Australian Ballet premieres three new commissions: Stephen Baynes’ At The Edge Of Night, Twyla Tharp’s The Storyteller, and, in a world-first collaboration with Bangarra Dance Theatre, Stephen Page’s Rites. Page’s groundbreaking choreography set to Igor Stravinsky’s score remains one of the most powerful moments in Australian dance history.

“Bluntly, it is the most significant cultural event in this country in decades.” - Bob Crimeen, The Sunday Herald Sun

In the Upper Room 06868 — Artists of The Australian Ballet, In *The Upper Room* (Tharp) 1997
Photo Jim McFarlane

1849654 TAB Rites Page Sidney Saltner Djakapurra Munyarryun Artists of TAB Artists of Bangarra Dance Theatre Credit Jeff Busby 1 — Sidney Saltner and Djakapurra Munyarryun with Artists of The Australian Ballet and Artists of Bangarra Dance Theatre, *Rites* (Page) 1997
Photo Jeff Busby

“ Just as Stravinsky’s The Rite of Spring brought together an exciting union of artists, so too does this new work for The Australian Ballet…. I hope this work challenges some of the current preconceptions about indigenous peoples and propels us all along the path of reconciliation. ” —
Stephen Page

1998

7 April
1914

Inspired by David Malouf's novel Fly Away Peter, Stephen Baynes premieres 1914, his first full-length ballet for The Australian Ballet at the Sydney Opera House.

1 July
Dark Lullaby

Natalie Weir premieres Dark Lullaby as part of the Collaborations season at Melbourne’s Malthouse Theatre. Weir says the work is a response to the series of etchings The Sleep of Reason Begets Monsters by artist Goya.

1998_1914_Baynes — Miranda Coney and Damien Welch, *1914* (Baynes)
Photo Jim McFarlane

1999

12 October
Rites' Delights New York City

In the predominately Australian line-up of choreographers, The Australian Ballet tours to New York and Washington with a program including Divergence, Rites, At the Edge of Night, Dark Lullaby and Madame Butterfly alongside Forsythe’s In The Middle, Somewhat Elevated. However, it was Stephen Page’s Rites that garners the most praise, even with some last-minute changes.

On opening night of the New York run of shows, Page made the decision to open Rites with a song performed by Yolngu Songman, Djakapurra Munyarryun. Sung in traditional language, Page said of the decision: “This is where we come from, we are older than Stravinsky, we are 60 thousand years older, so in a way he should respect us and we should sing first.”

1849787 TAB Rites Page Sidney Saltner Djakapurra Munyarryun Credit Jim Mc Farlane — Sidney Saltner and Djakapurra Munyarryun, *Rites* (Page) 1999
Photo Jim McFarlane

“ This is where we come from, we are older than Stravinsky, we are 60 thousand years older, so in a way he should respect us and we should sing first. ” —
Stephen Page

1990s Repertoire

It was another decade of artistic evolution as the company's repertoire expanded across genres to include revolutionary collaborations and groundbreaking productions.

2000
2009

The 00s

The advent of the new millennium sets the stage to take a chance on an unexpected artistic director and introduces genre-defining productions that have become some of the most treasured in the repertoire.

Steven Heathcote Simone Goldsmith 002 — Steven Heathcote and Simone Goldsmith, *Swan Lake* (Murphy) 2002
Photo Jeff Busby

2000

August
Changing of the Guards

Ross Stretton announces he will be leaving his position at The Australian Ballet to take up the role of Artistic Director of The Royal Ballet in London. In August of 2000, then-Principal Artist David McAllister is named Stretton’s successor, making him the first artistic director born after the company’s founding.

24 October
Love is in the Air (and on Stage)

In a wildly popular public display of affection, Music Director and Chief Conductor Charles Barker proposes to Principal Artist Miranda Coney on opening night of The Merry Widow in Perth. The Perth-born Coney, who was dancing the title role, accepted Barker’s proposal in front of the delighted audience.

2000_The Merry Widow — Miranda Coney and artists of The Australian Ballet, *The Merry Widow* (Hynd) 2000
Photo Branco Gaica

2001

24 March
Intermission

David McAllister performs as a principal artist for the last time in Sydney. McAllister takes his final bow as Albrecht in Giselle before embarking on his next great role: Artistic Director of The Australian Ballet.

2001_Giselle Gielgud David Mc Allister Credit Branco Gaica — David McAllister and artists of The Australian Ballet, *Giselle* (Gielgud) 2001
Photo Branco Gaica

2002

17 September
The Swan is Transformed

Graeme Murphy premieres his version of Swan Lake at Melbourne’s State Theatre, giving it a whole new edge in the process. The creative team of Murphy, Janet Vernon and Kristian Fredrikson blended tabloid culture of the 1990s and the scandalous British royal love triangle with classical ballet in the production that focuses on the humanity of the characters rather than their mystical qualities.

Murphy’s award-winning Swan Lake would become the most-seen production of the 2000s, with 159 performances over ten years and tours to the United Kingdom, France, China, Wales and Japan. Due to its immense popularity, Swan Lake is the first production to be performed by the company in two separate venues simultaneously.

December
Beyond 40

After 40 years, The Australian Ballet's repertoire includes 225 ballets by 74 choreographers, 27 of whom are Australian.

2002_Simone Goldsmith Steven Heathcote Swan Lake Photo Jim McFarlane — Simone Goldsmith and Steven Heathcote, *Swan Lake* (Murphy) 2002
Photo Jim McFarlane

2002_Swan Lake — Simone Goldsmith and Steven Heathcote, *Swan Lake* (Murphy) 2002
Photo Jim McFarlane

2003

January
Shattering the Glass Ceiling

Nicolette Fraillon is appointed Music Director and Chief Conductor, taking over from Charles Barker. The first female Music Director at The Australian Ballet, Fraillon's contribution extends beyond the day-to-day duties of directing and conducting. Fraillon is instrumental in providing educational opportunities for the company’s orchestral partners and bridging the gap between dancer and musician. Fraillon is also a passionate champion of Australian composers and provides a platform for their work.

Discover more →

29 April
Wild Swans

Meryl Tankard premieres her first full-length work for the Company, Wild Swans.

24 October
TBDA

Principal Artist Matthew Lawrence wins the inaugural Telstra Young Ballet Dancer of the Year Award. Announced during the Telstra Ballet at the Bowl at Melbourne’s Sidney Myer Music Bowl, Danielle Rowe takes home the People’s Choice award.

2005 Nicolette Fraillon conducting Photo Julian Kingma — Nicolette Fraillon
Photo Julian Kingma

Romeo and Juliet 08156 — Rachel Rawlins and Matthew Lawrence, *Romeo and Juliet* (Cranko) 2003
Photo Jeff Busby

Wild Swans

“ an artistic soulmate from day one ” —
Nicolette Fraillon on working with David McAllister

2004

June 7
Bodytorque

The inaugural season of Bodytorque premieres to further encourage new choreographic works from young dancers. The theme is Women on Men, where female artists create works for male dancers.

July
The Dancer's Company Celebrates

The 25th anniversary season for The Dancer's Company tours the country performing Leigh Rowles’ Nutcracker across Victoria, New South Wales and the Northern Territory.

October
The Education Fund

Founding artist of The Australian Ballet, Colin Peasley, establishes the Education Fund to celebrate his 70th birthday with a gift of $50,000. The fund continues to support the Education and Outreach program at The Australian Ballet, allowing the company to facilitate student workshops and performances across Australia as well as professional development courses for the next generation of dancers and dance educators.

October 29
Another Milestone

To commemorate the 20th anniversary of the opening of Arts Centre in Melbourne, The Australian Ballet presents a gala performance that includes pieces from La Bayadere, Swan Lake, Nutcracker and The Sleeping Beauty alongside Flames of Paris and Symphony in C.

2008_TDC_Nutcracker — Artists of The Australian Ballet and artists of The Australian Ballet School, *Nutcracker* (*The Gift Of A Dream)* (Rowles) 2004
Photo Jim McFarlane

2008_Colin Peasley Credit Lisa Tomasetti — Colin Peasley, Swan Lake (Murphy) 2008
Photo Lisa Tomasetti

2005

July
Swan Lake on Tour

Graeme Murphy’s universally adored Swan Lake tours to London and Cardiff. The critics agree with audiences and award The Australian Ballet the UK Critics' Circle Award for Best Foreign Dance Company.

September 14
A New Beauty

David McAllister commissions Stanton Welch to create a new version of The Sleeping Beauty in an epic production with designs by Kristian Fredrikson. Premiering in September, the production receives mixed reviews for Welch’s updated take on the fairytale, but the shining stars of the evening, Lucinda Dunn as Aurora, Damien Welch as Prince Florimund and Robert Curran as Prince Florestan, enchant both audiences and critics.

2005_The Sleeping Beauty 2005 The Fairies Photo Jim Mc Farlane — Artists of The Australian Ballet, *The Sleeping Beauty* (Welch) 2005
Photo Jim McFarlane

“ The depth of the talent in this company is extraordinary. ” —
Chris Boyd, Herald Sun

2006

17 March
Together Again

The Australian Ballet and Bangarra Dance Theatre reunite for Gathering, a double bill that includes the world premiere of Stephen Page’s Amalgamate alongside the return of Rites. The hugely popular production receives record-breaking single ticket sales in Melbourne and sell-out shows in Sydney.

“Both companies appear to have benefited from the collaboration: Bangarra looks sharper and The Australian Ballet looks hotter.”
- Chris Boyd, Herald Sun

19 September
A Modern Princess

Stephen Baynes premieres his version of Raymonda, updating the setting from the 12th century to 1950s Hollywood and loosely basing it on the life of film star and real-life princess, Grace Kelly.

2006_Amalgamate Page Olivia Bell Sani Townson — Olivia Bell and Sani Townson with artists of Bangarra Dance Theatre and artists of The Australian Ballet, *Amalgamate* (Page) 2006
Photo Jim McFarlane

Steven Heathcote Kirsty Martin in Raymonda 10 1 — Steven Heathcote and Kirsty Martin, *Raymonda* (Baynes) 2006
Photo Justin Smith

“ Stephen Page emphasises the differences in movement language in the first sequences, the uprightness and cool precision of ballet against the agile, grounded style of Bangarra, gradually bringing the two groups together in increasingly adventurous couplings and interaction. ” —
Hilary Crampton, The Age

2007

3 July
Ballet's Prince Charming retires

After 25 years as a professional dancer with The Australian Ballet, Principal Artist Steven Heathcote takes his final bow in Christopher Wheeldon’s After the Rain©. Over his captivating career, Heathcote has performed for audiences, celebrities and royalty across the globe, winning numerous awards, including three Helpmann Awards and two Mo Awards. Heathcote was appointed a Member of the Order of Australia in 1991 for his services to dance and retains the title of longest-serving principal artist at the company.

Discover more about Steven Heathcote →

7 December
Christmas Joy

The Australian Ballet partners with the Australian Film Commission to film a live performance of Sir Peter Wright’s The Nutcracker from the Sydney Opera House. The live satellite feed is received at eight regional cinemas as well as on the forecourt screen outside the Opera House, where thousands of ballet lovers gather to watch.

Steven Heathcote After the Rain farewell performance 007 1 — Steven Heathcote, *After the Rain* (Wheeldon) farewell performance, 2007
Photo The Australian Ballet archives

331617 TAB The Nutcracker Wright Madeleine Eastoe Credit Jim Mc Farlane 1 — Madeleine Eastoe, *The Nutcracker* (Wright) 2007
Credit Jim McFarlane

“ The ultimate Prince Charming. ” —
David McAllister on Steven Heathcote

2008

29 September
Rites Returns to Paris

In a remarkable piece of performance history, 95 years after Vaslav Nijinsky’s The Rite of Spring premiered to riots at the Théâtre du Châteletto in Paris, The Australian Ballet returns to the same theatre with Stephen Page’s Rites. Set to the same score by Igor Stravinsky, Rites receives standing ovations during the tour, which also included Symphonie Fantastique and Graeme Murphy’s Swan Lake.

“ Few versions of Stravinsky's Rite of Spring have gone so far in transplanting traditional ritual culture on to the ballet stage … extraordinarily powerful” ” —
The Guardian UK

2009

24 February
The Phoenix Rises

Graeme Murphy premieres his production of Firebird in Adelaide.

"In creating this new production of Firebird, I could not help but be historically aware of all that had gone before. Above all, the weight of Stravinsky’s musical masterpiece dominated, but equally I was ever-alert to audiences’ expectations and appetite for this legendary exotic fare – deviate too far and risk dashing an audience’s dreams like a delicate porcelain egg."
- Graeme Murphy, 2009 Souvenir Program, Firebird and other legends

Away from the mainstage, the company expands the education programs so that in 2009, the Education department facilitates over 450 education events to reach nearly 30,000 people, twice the number achieved in 2006.

TAB Firebird Murphy Adelaide Photo Alex Makeyev 2009 a17 1 — Lana Jones and Kevin Jackson, *Firebird* (Murphy) 2009
Photo Alex Makeyev

2000s Repertoire

In a record-breaking decade, over 250,000 people attended the ballet annually, reaching a total of 2.5 million audience members experiencing the magic of ballet.

2010
2019

The 10s

It’s a series of milestones and celebrations as the company pays tribute to its founding artistic director, reaches its golden anniversary and debuts an epic production of the grandest scale.

2010

19 March
The Silver Rose

The year begins with the Australian premiere of Graeme Murphy’s The Silver Rose. Based on Richard Strauss’ opera, Der Rosenkavalier (The Rose Cavalier), The Silver Rose is an all-Australian production, with Murphy’s creative team including Janet Vernon, Carl Vine and Roger Kirk.

25 June
Peggy’s Legacy

The company pays tribute to Peggy van Praagh on what would have been her 100th birthday with a gala featuring repertoire that reflects the founding artistic director’s contribution to ballet and the wider dance community. The program includes Antony Tudor’s Gala Performance, and Mark Annear’s Birthday Celebrations, performed by over 200 dancers from The Australian Ballet and The Australian Ballet School.

6 November
Stadium-sized Ballet

For the first time in 27 years, The Australian Ballet performs a free outdoor performance in New South Wales. Telstra Ballet in the Stadium transforms the Penrith Panthers rugby field into a ballet amphitheatre to the delight of Western Sydney audiences.

September
A Special Guest

Ten years before he would step into the artistic director role, David Hallberg joins The Australian Ballet as a guest artist in Sir Peter Wright’s The Nutcracker, partnering Kirsty Martin.

2010 Birthday Celebration — Artists of The Australian Ballet and The Australian Ballet School, *Birthday Celebration* (Annear) 2010
Photo Jim McFarlane

Telstra Outdoor 2010 — Telstra Ballet in the Stadium 2010 program

“ Dame Peggy was a woman of vision, determination and passion who charmed her newly adopted country with her eye for talent and wonderful sense of humour. As a world-renowned teacher and producer, Dame Peggy was well versed in the intricacies of the classical repertoire. She was also a passionate advocate for the development of new work and the nurturing of choreographers to create them. ” —
David McAllister

2011

25 February
Old Favourites Return to the Stage

Stanton Welch’s Madame Butterfly returns to the stage with the help from three of the production’s original cast members: Vicki Attard, Damien Welch and Steven Woodgate.

June – November

The beloved production of The Merry Widow is performed in Melbourne and Sydney, under the guidance of its original leading artists, John Meehan and Marilyn Rowe.

2 December
The Winner Takes It All.

Chengwu Guo makes history as the first male dancer in the company to take out both the Telstra Ballet Dancer Award and the People’s Choice Award.

2011_ Merry Widow Melbourne Photo Jeff Busby — Lana Jones and Daniel Gaudiello with Artists of The Australian Ballet, *The Merry Widow* (Hynd) 2011
Photo Jeff Busby

2011_Chen TBDA — Chengwu Guo wins both the Telstra Ballet Dancer of the Year Award and the People's Choice Award, 2011
Photo Jess Bialek

13 September

Graeme Murphy premieres Romeo & Juliet at Melbourne’s State Theatre.

“ Quite apart from the thrill of experiencing the Australian Ballet’s great performance it made me extremely proud of our national company, the wealth of talent behind the scenes and, simply, the genius of Graeme Murphy. ” —
Arts Hub

2012

11 February
Golden

The Australian Ballet’s golden anniversary season begins with an emotional reunion of the company’s alumni in Melbourne.

24 February
Infinity

The triple bill, Infinity, opens in Melbourne with a repertoire of Australian works from Graeme Murphy, Bangarra Dance Theatre and Gideon Obarzanek. It’s an eclectic mix of genres; Murphy’s boundless energy stretches the artists in The Narrative of Nothing, Bangarra draws from the longest continuing culture in the world with Warumuk – in the dark night, and Obarzanek provides a new perspective on Swan Lake with There’s Definitely a Prince Involved.

18 October
The Fourth Swan

Stephen Baynes’ premieres Swan Lake in what will be The Australian Ballet’s fourth incarnation of the ballet. Hugh Colman creates the set and costume designs for the retelling that commemorates Peggy van Praagh’s inaugural production.

2 November
50th Anniversary Gala

To commemorate The Australian Ballet’s golden anniversary, the company is joined by an array of spectacular guest artists from The Stuttgart Ballet, National Ballet of China, The Tokyo Ballet, San Francisco Ballet and American Ballet Theatre.

December
The Production Centre Opens

The Australian Ballet’s purpose-built Production Centre opens in Altona. The 10,000 square metre building houses the estimated $40 million collection of costumes, sets and props and provides a dedicated working space for stage craft and construction.

Discover more about the Production Centre →

2012_Swan Lake Baynes Melbourne Photo Jeff Busby — Lana Jones and Andrew Killian, *Swan Lake* (Baynes) 2012
Photo Jeff Busby

2012_Production Centre — Imogen Chapman and Brodie James during construction of The Production Centre in Altona, 2012
Photo Lynette Wills

Performed in Melbourne, the 50th Anniversary Gala commemorates the company’s debut on November 2, 1962. The performance is broadcast live to regional cinemas and streamed online and is later screened on ABC1. The evening’s repertoire includes Harald Lander’s Études, George Balanchine’s Tschaikovsky Pas de Deux, and excerpts from Manon, Giselle, Carmen, After the Rain©, Swan Lake and Don Quixote.

“ Everyone's pulling out all the stops to make sure they're perfect. ” —
David McAllister

2013

23 May
Canberra's Centenary

The Company perform a triple bill in Canberra to celebrate the centenary of Australia’s capital. Part of the Symmetries season, Garry Stewart premieres Monument alongside Christopher Wheeldon’s After the Rain© and George Balanchine’s The Four Temperaments.

June

Libbie Christie is appointed Executive Director of The Australian Ballet.

17 September
Ratmansky’s Cinderella

The world premiere of Alexei Ratmansky’s Cinderella shakes up the traditional tutu as designer Jérôme Kaplan takes inspiration from 1940s Hollywood, dressing the stepsisters in jewelled coloured satin pantsuits.

Discover more about Cinderella →

2013_Cinderella Ratmansky Melbourne Photo Jeff Bubsy c1 1 — Reiko Hombo, Dana Stephensen and Ingrid Gow, *Cinderella* (Ratmansky) 2013
Photo Jeff Busby

“ Cinderella was a truly magical experience for all who contributed to its creation. ” —
David McAllister

2014

March

The Australian Ballet School celebrates their 50th anniversary.

25 May
A Romantic Heroine

Sir Kenneth MacMillan’s Manon celebrates 29 years in the company's repertoire. Patricia Ruanne, who originally staged Manon for The Australian Ballet in 1994, returns to share her wisdom. Manon also marks the final performance of Principal Artist Lucinda Dunn, who debuted in the title role 23 years earlier.

1 July
Orchestra Victoria

The Australian Ballet officially secures Orchestra Victoria as a wholly owned subsidiary. The exciting collaboration further strengthening the 40-year relationship between the two companies and ensuring the future of ballet and opera in Victoria.

1 October
World Ballet Day

The Australian Ballet kicks off the 20-hour live global broadcast event, World Ballet Day which includes the world’s leading ballet companies. The Royal Ballet, Bolshoi Ballet, National Ballet of Canada and San Francisco Ballet all come together in the day that celebrates the art form.

2014_Manon Mac Millan Lucinda Dunn Credit Lisa Tomasetti 1 — Lucinda Dunn's final curtain call, *Manon* (MacMillan) 2014
Photo Lisa Tomasetti

2015

January
The Next Generation

After 16 years as Director of The Australian Ballet School, Marilyn Rowe hands over the position to Lisa Pavane.

July
Madeleine Eastoe Retires

Principal Artist Madeleine Eastoe retires after a spectacular 18-year career with The Australian Ballet. Madeleine takes her final bow as Giselle in Maina Gielgud’s production at Adelaide Festival Theatre.

17 September
McAllister's Beauty

In what has become a defining work in the company’s repertoire, David McAllister takes on the gargantuan challenge of The Sleeping Beauty. With the help of a remarkable team of creatives, including Nicollette Fraillon and Gabriella Tylesova, McAllister’s reimagined fairytale ballet is a massive success, with audiences continuing to flock to the lavish production year after year. The Sleeping Beauty is one of the grandest productions The Australian Ballet has ever commissioned and is funded through the incredible generosity of philanthropic donors and supporters.

Discover more about The Sleeping Beauty

15 December
Storytime Ballet

Executive Director Libbie Christie is inspired while spending time with her grandchildren to create specialised ballets for young audiences. The shorter 45-minute versions of classical ballets are child-friendly, interactive and include a narrator to help the little ones follow along. The first Storytime Ballet premieres in December and is adapted from David McAllister’s mainstage production of The Sleeping Beauty.

2015_Maddy last day — Madeleine Eastoe with Nicolette Fraillon and artists of The Australian Ballet, *Giselle* (Gielgud) curtain call 2015
Photo Kate Longley

2015_The Sleeping Beauty Mc Allister Valerie Tereshchenko Credit Jeff Busby 1 — Valerie Tereshchenko, *The Sleeping Beauty* (McAllister) 2015
Photo Jeff Busby

“ There is nothing quite like seeing ballet for the first time as a child. ” —
David Hallberg

2016

February
The Power to Transform

John Neumeier arrives to stage his celebrated ballet about the world’s first ballet ‘superstar’, Vaslav Nijinsky. Kevin Jackson, Callum Linnane and Jake Mangakahia all perform the demanding and coveted lead role.

Discover more about Nijinsky →

May
Vitesse/Symphony in C

May 2016 is an epic month of performances as the artists perform in the triple bill Vitesse and the mixed bill Symphony in C on alternate days during the Sydney season. Vitesse features the return of Jiří Kylián's Forgotten Land and William Forsythe’s In the Middle, Somewhat Elevated. The fitting grand finale is Christopher Wheeldon’s DGV©: Danse à grande.

George Balanchine’s homage to classical ballet, Symphony in C, is danced in an evening of works that include Grand Pas Classique (Gsovsky), Diana and Actéon pas de deux (Vaganova), After the Rain© pas de deux (Wheeldon) and the premiere of Scent of Love by Richard House and Little Atlas by Alice Topp.

July
Houston Ballet Arrives

Melbourne audiences are treated to a very special production of Stanton Welch’s Romeo and Juliet when the Houston Ballet performs in the city for the very first time.

5 November
Ballet Under the Stars

7000 people flock to the Penrith's International Regatta Centre in Western Sydney for Ballet Under the Stars and enjoy an evening of free world-class ballet.

Callum Linnane on performing Nijinsky

969478 TAB Nijinsky Neumeier Kevin Jackson Amy Harris Credit Lynette Wills — Kevin Jackson and Amy Harris, *Nijinsky* (Neumeier) 2016
Photo Lynette Wills

TAB Romeo and Juliet 1180 1 — Connor Walsh and Karina González of the Houston Ballet, *Romeo and Juliet* (Welch) 2016
Photo Jeff Busby

2025_Nijinsky Neumeier Callum Linnane Kate Longley

Callum Linnane and artists of The Australian Ballet, Nijinsky (Neumeier) 2025
Photo Kate Longley

2017

March
Wonderment

David McAllister’s season theme of ‘Wonderment’ lifts The Australian Ballet to a new level of excellence and whimsy. Season 2017 opens with a contemporary triple bill, featuring British choreographer David Bintley’s hybrid of ballet and sport, Faster. Inspired by the 2012 London Olympic Games, Faster leads the program, which also includes Infra by Wayne McGregor and the premiere of Squander and Glory by Tim Harbour.

"It's the Olympic ideal that we take seriously in dance as well… The essence is about pushing beyond what you may think is possible. Choreographers are always finding ways of pushing the body to be more articulate."

– David McAllister on Faster

12 September
Down the Rabbit Hole

Christopher Wheeldon’s Alice’s Adventures in Wonderland© makes its Australian premiere. Based on the Lewis Carroll tale, Alice originally premiered at the Royal Ballet in 2011 and was the first full-length ballet commissioned for the company in 20 years. The Australian production is a massive undertaking, with the larger-than-life work featuring a cast of over 90 artists alongside extraordinary visual and sound effects. Guest artist (and original Alice) Lauren Cuthbertson from the Royal Ballet joins The Australian Ballet for two performances during the Melbourne season.

Discover more →

November
Misty's Grand Entrance

International superstar Misty Copeland makes her debut with The Australian Ballet as Aurora in the Sydney season of David McAllister’s The Sleeping Beauty.

2017_TAB FASTER photo Jeff Busby 1463 1 — Artists of The Australian Ballet, *Faster* (Bintley) 2017
Photo Jeff Busby

170507 Women Holiday JM Card 06 0418 R2 — Misty Copeland, 2017
Photo Jim McFarlane

“ She’s quite imperious, very self-assured, and the voice of reason in the world of madness. ” —
Amber Scott on playing Alice in Christopher Wheeldon’s Alice’s Adventures in Wonderland©

2018

16 March
Murphy

World-renowned choreographer and dancer Graeme Murphy celebrates 50 years in professional dance with a curated program of repertoire from his extensive career. Titled Murphy, the production features his thrilling version of Firebird created for The Australian Ballet in 2009 alongside a selection of pieces created during his 31-year tenure as Artistic Director of the Sydney Dance Company.

September
From Coryphée to Choreographer

Alice Topp is appointed Resident Choreographer of The Australian Ballet. In June of 2018, Topp's acclaimed piece, Aurum, had premiered to rave reviews.

“A pas de deux… infused with so much passion and pain that there are moments where the audiences genuinely feels as if they shouldn't be watching what is so clearly a passionate and heartbreaking battle of love and loss.”
- LB. Bermingham, Stage Whispers

18 September
The Roman Returns

Lucas Jervies’ premieres Spartacus. Kevin Jackson stars in the production that Jervies says is about “breaking free and standing up against the state, but it’s also about love.”

2018_Murphy Melbourne Photo Jeff Busby — Artists of The Australian Ballet, *Grand* (Murphy) 2018
Photo Jeff Busby

“ It’s inspired by the Japanese kintsukuroi ceramic technique of using gold lacquer to fix any flaws or fractures in the ceramic. I found that so beautiful – to highlight the fractures rather than disguise them. We look at our imperfections as blemishes to hide in everyday life so we're airbrushing to what we think as perfect. If we could look at ourselves with the same sense of transformation it would be so beautiful because humans are just as susceptible to the same scars and pressures. ” —
Alice Topp on creating Aurum

2019

Enchantment

Orchestra Victoria celebrate their 50th anniversary with a special concert at the National Gallery of Victoria. The repertoire, ranging from the 18th century to newly commissioned scores, showcases the depth and talent of the orchestra.

24 February

Founding Director of The Australian Ballet School Dame Margaret Scott passes away aged 96. Between 1964 and 1990 Maggie led the development of the School, cultivating it into a creative hub that encouraged emerging talent and made student welfare a priority.

"Talent is its own force. You can’t make it; you can’t fake it; and you can’t break it."
- Dame Margaret Scott

March

The Australian Ballet combines forces with children’s entertainers and megastars The Wiggles to film The Wiggles’ Big Ballet Day.

10 December

Barry Kitcher, who famously created the role of the Lyrebird in Robert Helpmann’s The Display and was a founding member of The Australian Ballet, passes away at the age of 89.

2019_Nutcracker_Maggie — Margaret Scott, *Nutcracker - The Story Of Clara* (Murphy) 1992
Photo Earl Carter

“ Never did I think as a country kid from Victoria that one day I would be taking a curtain call at Covent Garden. Princess Margaret came to the performance and she told me how much she enjoyed the performance. She was fascinated by the mechanism [of the costume] and asked me if I could open the tail, which I did. ” —
Barry Kitcher, 1965

2010s Repertoire

Blockbusters dominated the 2010s as The Australian Ballet added thrilling reimagined fairytales, and epic biographical ballets to the repertoire.

2010s The Australian Ballet Repertoire 1 — Jill Ogai, *Ellipse* (Murphy) 2018
Photo Jeff Busby

2020
2029

The 20s

Artistic Resilience

In what was a shaky start to the next era of The Australian Ballet, the enduring passion for ballet and in turn, all art, saw the company persevere through global adversity to return to the stage with a new perspective and increased determination.

2020

25 February
The Happy Prince

Graeme Murphy’s ballet based on Oscar Wilde’s story, The Happy Prince, premieres in Brisbane.

14 March
The Last Dance

The triple bill, Volt, is the last live performance presented by The Australian Ballet before the COVID-19 pandemic causes the shutdown of theatres across the world. Volt features Wayne McGregor’s Chroma and Dyad 1929 and the premiere of Alice Topp’s Logos across the three-performance season.

April
Unprecedented Times

The Australian Ballet pivots online, offering audiences free access to previously recorded live performances. At Home with Ballet TV reaches over 104,500 audience members and includes recordings of David McAllister’s The Sleeping Beauty, Graeme Murphy’s Swan Lake and Rudolf Nureyev’s Don Quixote.

December
McAllister Retires

After almost four decades with The Australian Ballet, 19 years of which have been as Artistic Director, David McAllister officially retires from the position.

Celebrate the career of David McAllister

TAB Happy Prince Brisbane Photo Jeff Busby 2020 eb62 1 — Callum Linnane, Brett Chynoweth and artists of The Australian Ballet, *The Happy Prince* (Murphy) 2020
Photo Jeff Busby

KAACK 092025 HR PPABC 3 of 8 1 — The Primrose Potter Australian Ballet Centre
Photo Sally Kaack

A celebration of our longest-serving artistic director – the extraordinary David McAllister – as he prepares to bid farewell to The Australian Ballet. Take a trip down memory lane with a compilation of some of David’s most memorable moments from the archives. Hear from David’s nearest and dearest as they reflect on his legacy and share some of their favourite anecdotes from his tenure as an artist and leader of the company.

“ One of the main things I wanted to achieve in the role was to build a culture that celebrates our uniqueness and ‘Australianness’. ” —
David McAllister

2021

January
Hallberg's Vision

David Hallberg steps into the role as The Australian Ballet’s eighth Artistic Director.

25 February
A Brief Repieve

The first live performance by the company in nine months, Summertime at the Ballet is held in Melbourne’s Margaret Court Arena to the delight of ballet-starved audiences and energetic dancers finally able to flex their artistic (and physical) muscles on stage again.

April

New York Dialects opens in Sydney and includes David Hallberg’s first commission for the company, Pam Tanowitz’s Watermark.

May
Isolated. Together.

The COVID-19 pandemic continues to cause lockdowns across the globe; performances are cancelled and theatres go dark once more. The Australian Ballet’s Principal Artists lead classes online, with people all over the world joining the At Home with Studios program to keep fit and connected in these trying times.

9 December
Thank You

After coming together at record speed to pull off an incredible gala performance at the Sydney Opera House, The Australian Ballet presents a special evening performance at Melbourne's State Theatre. Celebration Gala is a free performance for frontline workers who have worked tirelessly during the pandemic and is met with standing ovations and tears of joy from both those onstage and in the audience.

2021_The Nutcracker Wright Artists of TAB Credit Edita Knowler 1 — Artists of The Australian Ballet, *Celebration Gala* 2021
Photo Edita Knowler

“ After David McAllister’s epoch-shaping 20 years at the helm of The Australian Ballet, we needed someone extraordinary to follow him: a true star of the dance world. In David Hallberg, we found that star. ” —
2021 Season Brochure

2022

25 February
Ballet's Back!

After more than two years of anticipation and cancellations, The Australian Ballet opens Yuri Possokhov’s Anna Karenina in Melbourne.

28 April
Ty King-Wall Retires

In an emotional farewell, Principal Artist Ty-King Wall is surprised by his former colleagues, mentors and family at his final curtain call.

29 April
Kunstkamer

Sydney hosts the Australian premiere of Kunstkamer in a radical departure from classical ballet. The eclectic work by choreographers Paul Lightfoot, Sol León, Crystal Pite and Marco Goecke includes a theatrical and scene-stealing return to the stage from Artistic Director David Hallberg.

July - August
40 Years of Touring

Artists of The Australian Ballet and The Australian Ballet School celebrate 40 years of regional touring, travelling to Launceston, Hobart, Bendigo, Mildura, Broken Hill, Darwin and Alice Springs to perform a gala program of repertoire.

20 October
DanceX

DanceX officially launches to showcase the wide range of talent in the Australian dance sector. The three-part festival of dance features works from Bangarra Dance Theatre, Australian Dance Theatre, Chunky Move, Karul Projects, Lucy Guerin Inc, Marrugeku, Queensland Ballet and Sydney Dance Company in a celebration of live performance.

December
Nicolette Fraillon Retires

Music Director and Chief Conductor of almost two decades, Nicolette Fraillon, retires.

Hallberg in Conversation with Nicolette Fraillon

2022_ KUNSTKAMER photo Jeff Busby — David Hallberg, *Kunstkamer* (Lightfoot, León, Pite and Goecke) 2022
Photo Jeff Busby

2022_Anna Karenina Possokhov Ty King Wall Credit Christopher Rodgers Wilson — Ty King-Wall during his final curtain call, *Anna Karenina* (Possokhov) 2022
Photo Christopher Rodgers-Wilson

Ausballet Nicolettecurtaincall Photographer Raineelantry 167 1

Nicolette Fraillon at her final curtain call, 2022
Photo Rainee Lantry

Nicolette Fraillon's departure from the role of Music Director and Chief Conductor leaves a legacy devoted to championing emerging composers, in particular, local and female artists, and promoting the importance of orchestral music across the performing arts.

“ The Australian Ballet is an incredible company and it has been an honour to serve it for the past two decades. ” —
Nicolette Fraillon

2023

January

Jonathan Lo is appointed as Music Director and Chief Conductor.

7 February
What Remains

In a belated farewell to retired Principal Artist Kevin Jackson, former Resident Choreographer Tim Harbour creates the moving Bodytorque Digital production, What Remains.

March
Superstar Power

The irreverent and elusive ballet star Sylvie Guillem arrived to coach The Australian Ballet dancers in the lead-up to Rudolf Nureyev’s Don Quixote. The company carefully recreated the 1970s film by Nureyev and Sir Robert Helpmann, adapting it for the stage in a thrilling kick-off to the company’s 60th anniversary season.

May
60 Years

The Australian Ballet is the first Australian company to perform George Balanchine’s masterpiece Jewels. Part of a ‘zipper’ season in Sydney, the company performs Jewels back-to-back with the world premiere of two works in the double bill, Identity. Australian Dance Theatre and The Australian Ballet artists come together in a powerful work by Australian Dance Theatre Artistic Director and Wiradjuri man, Daniel Riley’s THE HUM, while Alice Topp’s Paragon reunites some of the company’s most iconic former dancers with current artists in an emotional tribute to The Australian Ballet’s 60-year history.

2 August
Diamonds are Forever

For the first time since the COVID-19 pandemic closed borders, the company returns to international travel, performing George Balanchine’s Jewels and a special celebratory evening of repertoire favourites at London’s Royal Opera House.

September - December
A Beautiful Swan

The Australian Ballet returns to the production that remains one of the most loved in the repertoire to commemorate the company’s 60-year milestone season. Swan Lake was the first production performed by the company in 1962, and the 1977 reimagined version by Anne Woolliams provides the inspiration for David Hallberg in his first major commission. In a first for the company, the entire season across four states is sold out prior to opening night.

David Hallberg on Swan Lake →

2321400 TAB Jewels Balanchine Ako Kondo Brett Chynoweth Rainee Lantry 2023 1 — Ako Kondo and Brett Chynoweth, *Jewels* (Balanchine) 2023
Photo Rainee Lantry

2908458 TAB Swan Lake Hallberg Joseph Caley Benedicte Bemet Credit Daniel Boud 1 — Joseph Caley and Benedicte Bemet, *Swan Lake* (Hallberg) 2023
Photo Daniel Boud

Throughout the year, several beloved Principal Artists retired from the stage, all of whom had achieved the remarkable tenure of 22 years with the company. Adam Bull joyously threw his ballet slippers into the audience at the Melbourne Identity curtain call; Amber Scott danced her swan song as Odette/Odile in Swan Lake, and Amy Harris left audiences speechless with her emotional final performance in Marguerite & Armand.

2024

26 March
Big Moves

Christopher Wheeldon’s technicolour dream Alice’s Adventures in Wonderland© returns to delight audiences across the country. Closing night of Alice at Melbourne’s State Theatre is the company’s 2,387th performance at the venue and the last while it undergoes extensive renovations. All Melbourne mainstage performances will be moved to the historic Regent Theatre in Collins Street until 2027.

April
Carmen

Johan Inger’s contemporary take on the 19th-century novella Carmen opens in Sydney, riveting audiences with its dark and carnal themes.

May
Circle Electric

Recently appointed Resident Choreographer Stephanie Lake premieres her first full-length work for the company. Entitled Circle Electric, the production uses the talents of the entire 80-strong ensemble in the avant-garde piece.

The Education and Outreach program premieres two new productions, Paul Knobloch’s Wonderland and Ella Havelka’s From the Gadhu. Both productions are able to travel across the country and are specifically designed to be accessible and relevant to both school and community audiences.

Breaking Convention →

202_Alices Adventures in Wonderland Wheeldon Artists of TAB Credit Kate Longley 2 — Artists of The Australian Ballet and Orchestra Victoria at Melbourne's State Theatre closing night performance of *Alice's Adventures in Wonderland©* (Wheeldon) 2024
Photo Kate Longley

2024_Oscar Wheeldon Callum Linnane Credit Brodie James — Callum Linnane, *Oscar©* (Wheeldon) 2024
Photo Brodie James

3328221 TAB Oscar Wheeldon Benjamin Garrett Callum Linnane Credit Christopher Rodgers Wilson 2 1

Christopher Wheeldon's Oscar© intertwines biographical elements of Oscar Wilde’s life with the writers’ fairy tales is a world-first, presenting a same-sex romance on the ballet stage and offering LGBTQIA+ representation across the art form in a groundbreaking production of the highest calibre.

To be continued…

Throughout our history, from the Borovansky Ballet to our current company, our mission has always been to put art and artistry above all else. Through conflict, adversity and a global pandemic that changed the world forever, ballet has persevered and creativity has flourished. We look forward to adding to this page as our future becomes our history and invite you on the journey with us.

If you have a special memory of The Australian Ballet or a historical fact, you can submit it using the form below. We’d love to add to the legacy of Australia’s national ballet company with your treasured ballet moments.

The Australian Ballet Time Capsule

Sources

1962 Now

The Australian Ballet. For now, forever, for you.

1960 1969

1970 1979

1980 1989

1990 1999

2000 2009

2010 2019

2020 2029