As opening night draws near: a Q&A with Tim Harbour

With his new work Halcyon premiering on the mainstage in less than a fortnight, Tim Harbour has made a seamless transition from the top ranks of The Australian Ballet to the role of fledgling choreographer. We chatted to Tim about Halcyon and how he balances the excitement and hard work involved in his courageous career shift.

How did you come up with the title for your piece and what is it about?
Halcyon is the name of the lead character in a Greek myth. She falls in love with a mortal and they anger the Gods. He is killed and she redeems his body by transforming into the Halcyon, a type of kingfisher.

You drew inspiration from a Greek mythological love story. Where else do you draw inspiration from?
While I was thinking and working on this ballet I turned to works by Martha Graham, for the way she told stories through strong theatrical choreography. I’ve often thought of Graeme Murphy for the same reason. I also read about the art of the playwright and the structure of plays. I also looked to the stage and costume designers, and I collected a gazillion images that helped us to formulate visual ideas.

For Halcyon’s music you worked with Australian composer Gerard Brophy. Will this piece have an overall Australian feel to it?
To me it sounds more Middle Eastern, actually. Gerard took my ideas away after our talks and now his music is influencing me. I’m actually at a point where I’m trying to reconcile my earlier thoughts with the music. Sometimes that means changes. It’s a different process for me. It’s surprising and exciting hearing what Gerard’s done and wonderful to have someone working on Halcyon with me.

You’ve actually danced in Stephen Baynes’ Molto Vivace. How does it feel to have your work  featured next to his in Edge of night?
Yes, I created the role of the Cupid in Molto Vivace and danced in performances of At the edge of night, too. Stephen is a great choreographer and they’re wonderful ballets. I can only hope my work stands up alongside them!

When did you first try your hand at choreography?
In 2005 I made a duet that became part of that year’s Bodytorque programme. I wanted to try it before then, but time and courage failed me.

What is it like working with dancers that you were dancing alongside only three years ago?
Every dancer in my creative cast is someone I’ve worked with in the Bodytorque programme. It’s a luxury to know your dancers intimately, who are all so inspiring.

What was it like to choreograph a piece for Christopher Wheeldon’s company Morphoses in New York?
Both exhilarating and a little intimidating. I was a little unprepared for the pace of it all, but I’ve come to admire Chris all the more for his ability to produce such fine work so quickly and so often. He did it right before my eyes but I still don’t know how!

How have you found juggling your new career as a choreographer with a young family? [Tim is married to Principal Artist Madeleine Eastoe. They have a young daughter.]
To be honest, it is a challenge. Sometimes creativity seems like such an indulgence when you look at your kid and think of your responsibility as a parent. I’m working hard and I’ll just keep doing that.

Would you ever perform in one of your own ballets?
Yes, I think so. It would have to be a walk-on part though!

Edge of Night plays in Melbourne 26 August – 4 September and Sydney 11 – 29 November.

A former dancer, Lydia Gibala is now studying for a Masters in Marketing at RMIT University and recently completed an internship with The Australian Ballet’s marketing team.

Image: Tim Harbour and Rachel Rawlins in rehearsal for Halcyon. Photography Jessica Bialek