Posts by Lydia Gibala

Jane Casson. Photography by James Braund

A new path for Jane Casson

By Lydia Gibala

From the studio

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After nearly a decade with The Australian Ballet Soloist Jane Casson is hanging up her pointe shoes to pursue other passions: motherhood and her own business. Jane has performed much of the classical and contemporary repertoire and has been lauded for her versatility and comedic portrayals. With a business already under her belt, Jane is looking forward to the new challenges ahead. Interview by Lydia Gibala

As a native Kiwi, you began your ballet career with the Royal New Zealand Ballet and joined The Australian Ballet three years later. What enticed you to make the move?
In short, I would say love. My now husband joined The Australian Ballet a year earlier and the long distance relationship was really hard. I also wanted new challenges, new repertoire and the opportunity to work with great choreographers. I never looked back, so it was a great decision on my behalf.

What are the top highlights of your career?
I won a Green Room Award in 2007 and feel really honoured to have received such a prestigious award. Another highlight was opening night of Graeme Murphy’s Swan Lake in Sydney, 2008. I danced Baroness von Rothbart alongside Principal Artists Robert Curran and Madeleine Eastoe. It was a huge opportunity and very last minute. And on a personal note, developing my second family at The Australian Ballet. Even though I’m leaving, the company will always be a part of my life. (more…)

1 October 2010

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

By Lydia Gibala

Edge of night, From the studio

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. (more…)

13 August 2010

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Designing Molto Vivace: a Q&A with Anna French

By Lydia Gibala

Costume, Edge of night

Veteran costume designer Anna French continues to amaze us with her exquisite and, in the case of Molto Vivace, cheeky garments. We spoke to Anna about her collaboration with Stephen Baynes on Molto Vivace and she gave us some insight into the intricacies of costume design.

You’ve worked with Stephen Baynes before on 1914 and Requiem, both distinctly different to Molto Vivace. What most heavily influences the style of your designs?
I have designed the costumes for seven of Stephen Baynes’ ballets and they were all very different. Sometimes there was an established narrative, other times we were interpreting the nature of the music. My costume designs are influenced by the choreographer’s style, the choice of music, the size and nature of the performance space, the set design and the particular dancer who will be wearing the costume.

Do you watch many rehearsals prior to designing the costumes?
I try to watch as many as I can. It reinforces my connection with the choreography, allows me to visualise the costume in motion and realistically review the demands made of the garment. But, most of all, it allows you the privilege of witnessing the development of the choreography.

The music in Molto Vivace is by Handel who composed music around the 17^th and 18^th centuries, and yet the costumes are quite modern and funky. Can you talk about how Handel’s score fits with the costumes?
Stephen had a very particular attitude to the music which really influenced both the set and costume design. There was a formality on the surface of the music disguising a mad frivolity beneath. I tried to echo this in the costume designs in particular with the eclectic fabric choices, colours, and the silhouette. (more…)

26 July 2010

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