Josh Consandine is a former principal artist with The Australian Ballet. He returns to the company to make a work on our dancers for the Bodytorque season, and took time out from choreographing to chat with Jane Albert.
What have you done since leaving The Australian Ballet?
I’d been at The Australian Ballet for ten years when I met Alexa Heckmann [the two are now married and have three young children]. We went over to Sydney Dance Company and did two-and-a-half years there. After a while Alexa wanted to keep dancing and I decided I needed to reskill so I did a post-graduate diploma in movement studies at NIDA, which I really enjoyed. I’ve worked in the industry with Jim Sharman, on his Cosi fan Tutte for Opera Australia, and as a movement consultant and choreographer with actors. I’m now working part-time at a Sydney highschool [SCEGGS Redlands] as the co-ordinator of ballet and I work casually at McDonald College and Alegria and Sydney Dance teaching ballet.
Why did you want to be part of Bodytorque?
Alexa and I entered the Australian Ballet’s 50th Anniversary Ballet Project, a competition where you had to submit a synopsis, and choreographic and music ideas for a full-length ballet. We didn’t win but we came very close and David McAllister told me he’d really loved it and suggested I come and do Bodytorque. I’ve done a lot of choreography but it’s usually making people who don’t have the best technique, or aren’t the best dancers, look good, which is pretty challenging! I’ve choreographed some classical dance and musicals like Thoroughly Modern Millie, and worked with actors doing musical interludes, but this is good for me, it’s outside my routine. (more…)