A Virtual Evening with David McAllister

A Virtual Evening with David McAllister

AN EVENING WITH DAVID McALLISTER AND SPECIAL GUESTS

 

In recognition of your ongoing support of The Friends of The Australian Ballet we invite you and your household to join us for a very special virtual evening celebrating The Australian Ballet’s Don Quixote choreographed by Rudolph Nureyev.

In an online event curated especially for our philanthropic community, you will be treated to a live in-conversation between The Australian Ballet’s Artistic Director David McAllister and Marilyn Rowe who performed the roles of the Street Dancer and the Queen of the Dryads in the 1973 film also starring Rudolph Nureyev and Robert Helpmann.

You will then be invited to view a screening of Don Quixote via The Australian Ballet’s Ballet TV.

 

Thursday 17 September
7pm Discussion and Q&A

 

David McAllister in conversation with Marilyn Rowe, introduced by Kenneth Watkins, Philanthropy Director

 

7.45pm Don Quixote
RSVP by Tuesday 15 September

 

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Event access details will be provided following RSVP.
Friends in Virtual Conversation | Leo Schofield

Friends in Virtual Conversation | Leo Schofield

FRIENDS IN VIRTUAL CONVERSATION
LEO SCHOFIELD AM

 

In recognition of your ongoing support of The Friends of The Australian Ballet we invite you to join us for a warm interactive conversation via Zoom.

Hosted by Friends Deputy Chair Bruce Pollack in conversation with Leo Schofield AM

Twenty years ago this month, Australia welcomed the world to Sydney. Leo Schofield was the Artistic Director of the 2000 Sydney Olympic and the 2000 Summer Paralympics arts festivals. He has enjoyed a long and distinguished career as a journalist, critic, creative arts festival director, and trustee of countless arts and cultural organisations.

Join The Friends for a warm convivial online conversation with Leo Schofield as we explore his passion for the performing arts, involvement with the Paris Opera Ballet and revisit fond and funny Olympic moments from Sydney 2000.

WATCH THE CONVERSATION

 

 

An Evening in Black Tie with David McAllister

Steven Heathcote and David McAllister in The Merry Widow, photo Kate Longley

AN EVENING IN BLACK TIE WITH DAVID McALLISTER AM

 

 

In recognition of your ongoing support of The Friends of The Australian Ballet we invite you and your household to join us for a very special virtual evening celebrating The Australian Ballet’s The Merry Widow (proudly brought to you by The Australian Ballet’s jewellery partner Van Cleef & Arpels).

In an online event curated especially for our ballet community, you will be treated to a live in-conversation between Artistic Director David McAllister and Principal Dancers Amber Scott and Adam Bull who dance the lead roles in this version of the show-stopping production.

You will then be invited to view a screening of The Merry Widow via The Australian Ballet’s Ballet TV.

 

Friday 14 August
7pm Discussion and Q&A 

 

David McAllister, Amber Scott and Adam Bull in conversation, introduced by Kenneth Watkins, The Australian Ballet’s Philanthropy Director

 

 

7.45pm The Merry Widow

 

 

RSVP by Tuesday 11 August

 

 

 

Event access details will be provided at 5pm Friday 14 August 
How did ‘The Merry Widow’ Shape the Early 1900’s?

How did ‘The Merry Widow’ Shape the Early 1900’s?

Once upon a time, the people of the world looked to costumes as the dictators of fashion trends. It’s hard to believe that the extravagant gowns and accessories could be adapted in everyday life, however, in 1907, the fashion of “The Merry Widow” crossed into the mainstream consciousness.

 

Ever heard of a Merry Widow hat?

 

The operetta premiered on Broadway in 1907, in a time where women sported a tailored, hour-glass figure with a flowing skirt. However, the heroine, Hanna Glawari, contrasted the simplistic, natural look with a large, circular hat, covered in swathes of gauzy chiffon and white ostrich feathers.

 

If you are under the impression that this hat is a little bit extravagant, you may be interested to learn that it is fairly understated in comparison to the “trendy hats” it inspired.

 

There was no mistaking it- The Merry Widow created a cultural phenomenon of hat-wearing, with these hats becoming a symbol of wealth and class. The base widths of the hats varied, with most usually stretching to 45cm, however, there was no restrictions in the height of the hats. Although Ostrich feathers complemented the look nicely, the hats were also decorated with flowers, and sometimes sprinkled with a couple stuffed birds.

 

A parody post card of “The Merry Widow Hat” c.1908

The hats grew to be a sign of class and wealth.

Lily Elsie, the original Hanna, in a “Merry Widow Hat”

 

 

 

 

Hats aside, The Merry Widow and the composer, Franz Lehár, became a global phenomenon internationally, travelling from Austria to the UK, and even to Broadway in the US. Bearing in mind the difficultly in touring productions in the eras before air travel, it is quite remarkable how the show was able to migrate into various countries, languages and cultures, yet still leave a lasting cultural imprint. For example, it is believed that Lehár’s storyline in The Merry Widow sparked a new demand for Viennese Waltz Operas in the States over the next decade. Moreover, Lehár’s work also paved the way for a new wave of Viennese Operettas, which would centre two constantly battling lovers who would hide their feelings from the other, until, they reveal their attraction in the last scene.

 

It’s remarkable how this story has been continually shared over the last 100 years. The Australian Ballet’s most recent adaptation is a great spectacle of talent, colour and intricate design. However, once you learn of the quirky backstory of this ballet, so many small details in the costuming, such as the odd Ostrich feather here and there, are suddenly highlighted in your eye.

 

 

Hanna’s Famous Hat, Adam Bull and Amber Scott (Jeff Busby)

 

 

 

Friends in Virtual Conversation

The Australian Ballet’s Amber Scott, who was part of the La Trobe’s online conversation

FRIENDS IN VIRTUAL CONVERSATION
JOINTS AND WELL-BEING

 

In recognition of your ongoing support of The Friends of The Australian Ballet we invite you to join us for a warm interactive conversation via Zoom.

Friends of The Australian Ballet Chair Greg Khoury and Friends sub-committee member, dancer and remedial therapist Gayle Wakeling-Taylor will explore some of the ideas recently shared by The Australian Ballet and La Trobe University into joint management and treatment.

 

WATCH THE CONVERSATION