Cassie on Coppélia
Hello! My name is Cassie Parker and I’m a digital marketing intern with FAB. I consider myself a bit obsessive with ballet and theatre, and although any childhood hopes of becoming a ‘prima-ballerina’ are long-gone, it has been an absolute thrill to be involved with FAB over the past year.
At 4, I was slotted into the local ballet studio, “Miss McGirr’s School of Ballet,” where I continue to take classes today. Every dancer, no matter how long ago, remembers their first performance and cherishes their first costume/character. While many young ballerinas assume the role of a flower or a fairy, my earliest ballet memory was performing as a fish swimming below Captain Hook’s boat in Peter Pan. A fellow fishie fell over in front of me during the routine, but as the show must go on, I ran past my friend without missing a beat in my spring pointes.
Coppèlia holds a dear place in my heart, and I am forever grateful to my selfless grandmother who gave up her ticket for me in November 2016. To me, no other traditional ballet moves, both physically and emotionally, in the way that Coppèlia does. Although there is beautiful acting in Giselle, Swan Lake and The Nutcracker, I have never been more immersed in the ballet than watching every character be (literally) animated in Coppèlia. Ako Kondo’s strong-willed Swanhilda was a character I had rarely seen on the classical stage, and the physicality within Dr Coppelius’ toy room still amazes me. There was a crash dummy in the room, which was strewn on a chair, folding his limbs such unnatural angles that I almost swore it was a stuffed doll (it wasn’t!).
However, the storyline of Dr Coppelius is tragically beautiful, and the complexity of his character being both an antagonist as well as the victim is a plot device that has left me thinking years after the curtain fell.
Another iconic aspect of the ballet is the music. Leo Delibes’ score retells the story as if it were a book – it’s hard to describe, but although it has been years since I last saw the stage performance, the score still brings me very close to the emotions of the storyline, immersing me in the animatronic amazement of the toy room, as well as the broken-hearted despair of Dr Coppelius.
It’s a very exciting time at the moment – my ballet classes have just started back, and my ballet school is setting up a few holiday classes to help regain some lost technique. I am very excited to stream Coppèlia on BalletTV, and I’m hoping to finally watch it with my Grandma from her home
Belle Urwin performing in Coppélia during The Australian Ballet’s 2019 Regional Tour, photo by Lynette Wills, courtesy of The Australian Ballet
With Coppélia taking centre stage on Ballet TV, we reached out to Belle Urwin, recipient of the 2019 FAB Australian Ballet School Scholarship and new member of The Australian Ballet company. Last year Belle was part of The Australian Ballet’s Regional Tour of Coppélia so we asked for her thoughts on all things Coppélia, touring with The Australian Ballet and what this year has been like for her so far.
Tell us a little about your experience of performing in Coppélia?
Coppélia was a ballet I had never performed before so it made this experience even more rewarding. I was lucky enough to be selected by both Lisa Pavane and David McAllister to take on the difficult role of the “Prayer” solo. Whilst in Albury, David McAllister visited to watch us perform and offered some useful tips and advice that he said helped Robyn Hendricks master those penches. I also enjoyed performing other roles such as “Hours”, “Mazurka” and “Spanish Doll”.
Do you have a favourite character or moment in Coppélia?
I particularly loved watching the wedding pas de deux performed by Swanilda and Franz in Act 2, as it was such a challenging pas de deux to execute, which they always made look easy. I also loved the “Doll scene” at the beginning of Act 2 where all the dolls come to life. It was always an entertaining scene that would get the audience laughing and even us dolls too! (Luckily we were wearing masks that covered our smiles)
What was touring regionally like with The Australian Ballet?
What I loved most about touring regionally was exploring these beautiful locations I would have never probably visited if not on tour. It was so gratifying to know that our presence in these small towns meant so much to these people and for me that made performing for them even more special.
I felt this tour was extremely well organised and I was always well prepared for what each location was like. Luckily I had prepared myself in terms of cooking my own meals previous to going on tour as a lot of people were forced to resort to 2 minute noodles!!
Where exactly did you go on the tour?
We started with a long drive to Griffith (NSW), then Wagga Wagga, Shepparton, Albury and Warragul (VIC). From there we flew to Tanunda and finished off in Mount Gambier (SA).
Do you have any favourite or funny moments from last year’s tour?
One of my favourite moments on tour was when one of my classmates was performing the role of the ‘Coppélia Doll’ in the opening scene. It was when she started performing her ‘doll-like’ movements that her headdress got stuck in the netting of the balcony and she couldn’t move! Thankfully Dr Coppelius came to the rescue and the show went on as it always does.
What are you currently focusing on or looking forward to in the world of ballet?
Putting current circumstances aside, I look forward to being welcomed into The Australian Ballet family and to further my relationships with my fellow colleagues and staff members. I am excited for what the future holds especially with the new director David Hallberg taking over next year. Being so fresh into the company I haven’t been able to form a connection with Mr Hallberg yet but look forward to working under his leadership and his strategy for the future direction of the company.
How have you found working from home during the COVID-19 period? What challenges have you faced and what have you enjoyed?
Due to Covid-19, I have spent my time isolating in Sydney with family. My two sisters returned from their studies in New Zealand to also isolate in Sydney, so what used to be a peaceful household of three quickly turned into a chaotic household of six! It was lovely to have the family back together again as it was the longest period of time I had been home since moving out at the age of 14.
I decided to isolate in Sydney mainly because of space issues I had back in Melbourne as I share an apartment with two other TAB dancers in a small apartment.
What I have struggled with during this time is not having the resources and equipment available to me to maintain the level of strength and fitness that I was at before lockdown. In addition to this, although TAB generously gave each dancer a square metre of tarkett, I have struggled to adapt to this change of working in a much smaller space.
On the bright side, The Australian Ballet have done an amazing job of keeping us all connected, especially us first years, ranging from phone calls twice a week to check in on our physical and mental wellbeing to online cooking classes where we have fun getting to know each other as well as learn how to cook delicious meals!
I look forward to finally working in the studios again and although it has been a very interesting start to my ballet career it is definitely one I will never forget!
A VIRTUAL NIGHT AT THE BALLET
GRAEME MURPHY’S SWAN LAKE
In recognition of your ongoing support of The Friends of The Australian Ballet we invite you and your household to join us for
The Australian Ballet’s inaugural online event, A Virtual Night at the Ballet.
You will be treated to a live and interactive pre-performance talk with creator Graeme Murphy AO where we will explore his legendary production of
Swan Lake, followed by a screening of the performance via The Australian Ballet’s Ballet TV.
Thursday 2 July
7pm Pre-Performance Talk and Q&A
Hosted by Brooke Lockett with Special Guest Graeme Murphy AO
7.30pm Swan Lake
Your finest video conference attire
RSVP by Monday 29 June
Event access details will be emailed to guests at 5pm Thursday 2 July.
Ella Havelka during The Australian Ballet’s 2016 Swan Lake tour in Beijing, photo by Lisa Tomasetti
Ella Havelka is a Wiradjuri woman and the first Indigenous dancer to join The Australian Ballet. Describing an old video tape of Swan Lake as the initial inspiration for her journey through dance and ballet, Ella began dancing in Dubbo before joining The Australian Ballet School in 2007. After graduating from ABS, she danced with Bangarra until 2012, appearing in Mathinna, of earth & sky, Belong, Spirit and Terrain. In 2012, Ella performed in Australia and New York with Bangarra and The Australian Ballet in Warumuk – in the dark night, a collaborative work created by Stephen Page for The Australian Ballet’s 50th anniversary celebrations. She joined The Australian Ballet in 2013. In 2016, Ella was the subject of an eponymously titled documentary centring on her dance journey, which was released at the Melbourne International Film Festival. In 2019 Ella guested with Bangarra for its 30th anniversary program; she was named most outstanding dancer in Dance Australia Magazine for her performance in Jiří Kylián’s Stamping Ground, part of that program.
During Reconciliation Week this year, Fashion Journal chatted to Ella about her career and the different worlds of working with both The Australian Ballet and Bangarra. Read the interview here.
If you want more Ella, listen to her conversation with Libby Gore on the ABC’s This Weekend Life here.
In a world embracing technology to stay connected FAB shares a ballet image for members using Zoom. Upload our ballet backdrop to add some colour to your next virtual catchup.
To download a backdrop, either right click if using a mouse, or press and hold if you using a tablet. Follow our Zoom Backdrop Guide for instructions on adding backdrops to your next Zoom call.
Photo by Angus Scott
Photo by Lexy Potts
Photo by Lexy Potts