DanceLife Blog

Here is our first interview with one of the stars of CATS, Shaun Rennie who plays Munkustrap in the musical.

1. You have played the role of Munkustrap both in Asia and now in Australia. How do the audiences compare? Do you notice a difference?

Absolutely. Many of the cities we have visited in Asia have never seen a western style musical before, especially in China, so therefore there is a real sense of wonderment from the audience. There is also a tendency for Asian audiences to be very enthusiastic... to the point of frenzied fans screaming for the sake of screaming, whereas in Australia, I have found the audiences to be much more honest in their response. When we have a great show, we are rewarded justly. I always feel that in Australia, the audience is "with us" much more.

2. What was the audition process like? How heavily did you have to rely on your skills as a triple threat performer to snag the role?

The audition was very intense, especially as someone who considers themselves a singer/dancer. I remember walking into the room, being surrounded by all these incredible dancers and feeling very intimidated. It most definitely pushed me to my limits both vocally and physically. Thats the great thing about CATS tho, it really does require you to use all of your skills and training. The other great thing about the show is, that there are so many different roles in the show, and each one requires a different set of skills. So yes, everyone needs to be able to sing and dance, but certain roles require different actors to be have different strengths. I could see this for early on in the audition process, and that helped ease my nerves a little.

3. You have completed some extensive training throughout your years as a performer. What would be your number one tip when looking for somewhere to train and gain more skills?

Oh that always relies on the individual and what is going to suit them best. For some people it's going to WAPPA or NIDA, for some it's doing private singing lessons and attending dance classes. I did the NIDA musical theatre course, and I do believe that it gave me a very strong set of skills and techniques that I still use today, however I understand that a full time course such as NIDA or WAPPA does not suit everybody, so I suggest to get out and do as many drop in classes as possible.

4. Light The Night is an Annual Benefit Concert you produce for Leukemia research. Can you tell us how you started this venture?

Light the Night is inspired by my younger brother Matthew. Matt was diagnosed with leukaemia back in 2004 when he was 21 years old. Having to watch my brother fight this disease, and not being able to do much for him ourselves was very frustrating. Light the Night was our way of helping. The original idea was to put on a small concert and raise Matt's cancer ward a few thousand dollars, however the idea grew and grew and its now been five years, and we have raised over $250,000 for leukaemia research. Sadly, Matt passed away in 2007, but Light the Night continues as his legacy and is continuing to grow and help others fighting this horrible disease.

5. When you're not on the road with Cats what are you doing?

Resting!!! Life on tour is pretty crazy at times, so generally when I am home in Sydney I just like to hang out with my mates and my family. I did just go on a holiday to London in our last break, which was amazing.

6. Where do you see yourself in 5 years time?

Still working in this amazing industry. I am truly happy to have been able to make a living out of doing what I love, as long as I am able to continue doing that, I'll be happy.

Cats is playing in Melbourne, Perth and Sydney. Go to www.showbiz.com.au for all ticket information.

DanceLife recently caught up with Australian Dancer and Choreographer Carly O'Connor as she is currently training hard over in LA.

1.You're currently over in LA, what have you been up to there since you left Australia.

I've been taking class everyday! It's so inspiring and exciting to be pushed to your limits everyday! Classes in LA are really about dancing from the soul! Its a really rewarding experience.

2. As a professional dancer in Australia you have worked on some amazing jobs including Happy Feet, Australian Idol etc. Why do you think choreographers get you on board with so many different projects? What quality do you have that sets you apart from the crowd?

I think it's important from the very start of your career as a working dancer, to pride yourself on a good work ethic. To be focused, bright and energetic at both auditions and in rehearsals! To be someone that the choreographer wants to have on board, not only as a good dancer, but also have good energy to have on the job! Be enthusiastic! And always on time - if not early and be ready to work hard! I pride myself on having this reputation.

3. You have danced for international artists including Kelly Rowland, Mika, Tina Arena, Inaya Day and Marcia Hines. What has been your most memorable moment working with an artist?

I've had some great experiences with these artists! They were all so respectful and appreciative to have the dancers on board with them! I distinctly remember being in sound check with Tina Arena, marking through the routine and standing beside her, and this huge, amazing voice came out of this tiny lady! It sent shivers up my spine! I have the upmost respect for her and will never forget that! Also Marcia Hines is always good value on the job! Lots of laughs and always remembers conversations we had on past gigs and follows up with asking how you've been since then!

4. Many dancers dream of going overseas to make it. What has been your inspiration to cross the waters to the US?

I've been to LA to train many times over the years, and this time I feel like its right for me to stay here! I've paved the way with some great choreographers in the time I've spent here, so Im hoping that will put me in good light in the future! I'm ready for new adventures and bigger and better challenges to come!

5. How did you prepare for the move? Where did you look to for advice?

I've spent many an hour collating all the information I've needed to get the process complete! I have a special friendship with an amazing choreographer here in LA, Adam Parson, who as always been incredibly supportive and instrumental in my move here! Having him and other dancer/choreographer friends here to help me out and push me forward, has been really important!

If you're doing great things and want to let DanceLife know please email us at info@dancelife.com.au.

Fast becoming notorious for reworking vintage gems from the 60s, 70s and 80s, Sydney's hilarious female trio, The Margaritas, serve up a delicious mix of cabaret and burlesque with a deliciously wicked sense of humour. Tart and complex with a hint of bitterness, these sophisticated temptresses will add some of your old favourites into the blender and serve them up with a twist for Mardi Gras 2010. NB: Creators Jackeline Laso, Nathalie Cotte, Natalie McCormack. DanceLife caught up with the girls to chat about their new show 'On The Rocks'.

1. Tell us how you found each other and formed 'The Margarita's'?

We knew each other for a while working together in the entertainment industry. We were all at a point in our careers where we wanted to create our own project and manage ourselves.

We all have a very kooky sense of humour. So finding each other was a blessing as it is not easy finding people you can work together on a creative level as well as being good friends.

2. You are all triple threat performers. Do you think this is a key ingredient to creating a successful show?

It really depends on the show itself. For our particular show it works well to have experience in singing, dancing and acting as it draws on all of them. In general it is very useful to be versatile but it really depends on what you want to do and the show you are trying to create. Some shows run more on just the music and musical talent, some just on dance and then others such as musicals tend to draw on all 3 elements. We are a vocal group - a band if you will, but we bring in theatrical elements such as dance, movement, costumes, and characterisations which suits our show and adds to the entertainment value of it.

Also, comedy is a big ingredient for us and during our creative process and rehearsals, we often go beyond the realms of good taste/what's possible but it's this over-zealous approach that gleans the best results. Often one of us might say "Now I know this isn't possible, but what if we had naked men/fireworks/an albatross colony interrupt the last verse of this song...?" Triple threat ability is very handy obviously, but the fact that we are creatively inspired, believe we're offering something unique and immensely enjoy what we do really shines through in performances and is key to the success of our shows.

3. We last saw you in Slurp, Don't Sip which received standing ovations and rave reviews. How do generate new show ideas and where do you get your inspiration from?

We tend to each be inspired by different songs and have a base idea or 'vision' for it. We'll workshop it together and something will grow out of that. We draw inspiration from so many different sources mainly the music or song itself - artists we like, pop culture, movies, everyday life situations - pretty much everything and anything.

We choose songs and part-parody part-tribute them - usually endeavouring to insert an unexpected twist at some point, or giving the song an unusual flavour or theme. It may be a song people will have heard many times, but they will have never seen it presented the way The Margaritas do it! We're inspired by many varied and legendary vocalists, from James Brown to Kate Bush, and our choreography ranges from classical ballet to waacking (one of our members Jackeline Laso has studied in New York). A comedic influence is Benny Hill - although it's more like we are the buxom young ladies and Benny rolled into one!

4. Recently you were seen busting out into song throughout Sydney's public transport system. How effective was this strategy in getting your name out there?

It was great! We definitely lightened up people's faces when we sang and from what we could tell, the public really enjoyed it. It would have been pretty memorable considering it's not what you see every day. One lady approached us and hired us for her daughter's 21st.

It was like small-scale flash-mobbing and was a very pro-active way of getting out there and making the public aware of us. I cherished seeing people smiling on public transport.

5. Tell us what we can expect to see in your new show 'On The Rocks' which will debut at Sydney's Seymour Centre's from 25th March?

It will be a pastiche of vintage songs which we interpret in our own special way. Lots of colour, movement and song laced with our own special brand of humour as we add our own twist to a very eclectic soundtrack! There are lots of surprises install. Cheeeeecky.... is what I can say. It's a very exciting show!!

THE MARGARITAS IN ‘ON THE ROCKS' (25 Feb- 6 Mar Thu-Sat 9.30pm, $18-25, Seymour Centre, Downstairs Theatre)
Bookings & More Info: Box Office P: 02 9351 7940 W: www.seymourcentre.com  

By Cimone Grayson

Arlene Phillips, world-renowned Director and Choreographer has amassed a body of work to include musicals We Will Rock You, Starlight Express, Saturday Night Fever and Flashdance. Music videos from AC/DC, Queen, Duran Duran, Elton John and Whitney Houston and she's also a prominent UK celebrity. Speaking from her London home last Friday morning Arlene took time out between rehearsals to chat about dance, performers, choreographers and the weather.

A tight schedule means we immediately launch into discussions, beginning with Nigel Lythgoe. "I first met Nigel in dance classes, we then auditioned together for a new dance company ‘Young Generation', he got the job and I didn't, I've never forgiven him! I went on to create Hot Gossip and Nigel began work as a BBC Producer and Director, often I was choreographing things he was producing. He later moved to America created So You Think You Can Dance and remembered me. He said "there's no one better to judge a dance show and besides she's older than me and I like that!" In this latest series Arlene observes some trepidation, the focus on the performers has shifted towards showcasing the choreographers and some of them are extremely nervous. "It dawned on them that what the contestants are dancing is just as important as who is dancing. You may have a brilliant dancer but if the choreography has no impact the dancer may be asked to leave, it's so important that the choreographers deliver, equally important that they get talked about and get their names out there."

Dance has evolved over the years and Arlene's personal biggest dance influence was Alvin Ailey. "Nothing affected me as watching Alvin Ailey's Revelations. The dancers were technically brilliant but the joy in the dance was something that stirred me. From Twyla Tharp to some of the newer companies who are moving in extraordinary ways, Hofesh Shechter an Israeli choreographer does wonderful work. In England there was a massive dance explosion in the 70s, every Saturday night entertainment show had dance, Pans People and then Hot Gossip for the Kenny Everett Video Show, locking and breaking was coming in and contemporary was starting, it felt like dance was everywhere. In the mid 80s to 90s dance died, you only saw dance in videos, these were the faceless dancers, the second dance explosion was when Strictly Come Dancing arrived, who would have thought three big dance shows at the start of 2010."

TV dance shows have popularised dance and Arlene agrees this has been monumental in so many ways, "When we began Strictly Come Dancing it revived not just dancing but every aspect of dance. Numbers had dropped in dance schools, dance shoe factories were closing down - there was nothing. Now there are streets of dance shops and hundreds of schools around the country, it brought people into ballroom and Latin classes, TV shows have given us acts like Diversity and Pied Piper, hip-hop has exploded. It's unbelievable how big dance has become."

Arlene Phillips has mentored and terrified dancers too numerous to mention but with the nation held to random by freezing temperatures and heavy snowfall Arlene's focus today will be on safely making rehearsals, then she can think about tomorrow's filming of So You Think You Can Dance. Working long hours and an unrelenting schedule is completely normal for Arlene, when I mention the word retirement she simply says "Not yet, I'm afraid if I stop I'll fall apart. Work keeps coming, it's quite extraordinary." Never one to lose sight of how it all began she marvels at her life and how dance has shaped her, "I can never forget where I started, I was the little girl who wanted to dance but was always told my legs were too short, my body was the wrong shape, I was the fighter at the back of the class, it's always been a struggle but with hard work and a solid conviction you can do it." With so many accolades to her name her proudest career moment was an extraordinary moment for Arlene, "In a sense a quiet moment when the Bolshoi came to London 15 years ago and their dancers took my class. One of the principals Gedeminas Taranda asked me to choreograph a piece when he was invited to perform guest solos in Russia. I now think to myself, a girl from Manchester who had a passion and a love to dance has actually worked with one of the most recognized dance companies in the world."

When asked how she juggles everything she explains "I'm working the longest hours in the world and so many days. From Sundays through Fridays I rehearse the Strictly Come Dancing tour, that I also directed and I travel back to London, on Saturdays I film So You Think You Can Dance and then return to the tour on Sundays." The whole of England is at a standstill with the snow but there are no signs of Arlene even slowing down despite the weather.

http://www.youtube.com/watch?v=znmEJEpVwDo&feature=SeriesPlayList&p=DCBCA5EAF1FB2037 Get involved, upload a video to the BBC YouTube site and you may feature in the final UK show.

http://www.youtube.com/watch?v=MVKG05S3jOM SYTYCD preview with introduction by Arlene Phillip

Cimone Grayson is the Managing Director of INC Sydney. Cimone Grayson, former assistant for 8 years to world-famous director/choreographer Arlene Phillips, is spearheading I.N.C Sydney. Cimone's time with Arlene has provided her with an extensive knowledge of the Australian and UK entertainment industries. Past projects include the Australasian tour of Saturday Night Fever; the Australian debut of We Will Rock You (with Annie Crummer); Starlight Express; and TV's popular Dancing With the Stars (with Bruno Tonioli).

DanceLife is thrilled to have Cimone on our 2010 Contributers Team!

In one weeks time the smash hit Broadway musical ‘Spring Awakening' will be opening at The Sydney Theatre Company with an all Australian cast.
Based on Frank Wedekind's controversial play of 1891, this bold new musical tells the tale of a group of teenagers embarking on the thrilling, turbulent transition from youth to adulthood.

Wendla begs her mother to explain where babies come from only to be fobbed off with mumblings about ‘the stork'. Melchior, more advanced in his sexual education, has been studying diagrams that would bring tears to the eyes of his elders. On a stormy, spring afternoon Wendla and Melchior succumb to desire. Fumbling their way into one another's arms, they learn the joys of sexual awakening. Only later will they learn of its potential to devastate.

Spring Awakening won eight Tony Awards including Best Musical and has since become a music theatre phenomenon throughout the world, garnering a cult following wherever it has travelled. Driven by an exceptional score ranging from power ballads to grunge anthems that capture the spine-tingling highs and lows of youthful desire, this exuberant musical has all the energy of a rock concert and all the power of a great drama.

A new generation of performers - cast from open auditions across Australia - burst on to the Sydney Theatre stage for the hotly-anticipated Australian premiere of Spring Awakening. It may be 1891 but when these exceptional singers burst into song they express electric inner worlds that will be instantly recognisable to anyone who is - or ever was - a teenager.

Watch an interview above with the choreographer Kate Champion where she talks about being a part of the show and how it was for her choreographing the Australian production of this award winning show.

For more information on Spring Awakening go to www.springawakeninginaustralia.com.au  

Hi Everyone,

In January I was lucky enough to be in the UK and caught up with Aussie dancer Adam Scown who now calls London home. So just what is it really like to be living and dancing abroad? I had a chat with 25 year old Adam to find out!

Christine: So Adam - how long have you been living and working in London now?

Adam: I moved to London in May of 2007 - so in total 2 ½ years now (with a couple of visits back home for a month or so).

Christine: What made you decide to leave Sydney and try your luck in the UK?

Adam: I recall visiting a friend in the UK back in 2003 and knew that I wanted to come back and work here. But at that time I didn't know if it was something I really wanted or a spur of the moment thought. So I continued to work extensively back home in Australia in all aspects of the dance industry. Then there came a time when I wanted the feeling of being challenged more - so I packed up and made the move to London.

Christine: Had you done any professional gigs before leaving Oz?

Adam: Yeah I had done loads of jobs in Musical Theatre including Boy From Oz (with Hugh Jackman), Oh What A Night, Aloft and Grease. I also did some film & tv including Bootmen, Oscar and Lucinda (with Cate Blanchett), a role on Home and Away and worked with choreographer Kelley Abbey on Happy Feet. As well as that I did a lot of commercial gigs, working with different choreographers which proved a bonus for me when I moved to the UK as I was able to adjust to all different styles of dance.
I would have to say that moving to London with so much previous experience definitely helped!

Christine: So what have you been up to over here?

Adam: Well when I first arrived it was extremely daunting. I couldn't believe I had finally made the decision to move and that I was actually here. In the past 2 ½ years my career has focused mainly on musical theatre and I've done shows such as Dirty Dancing, High School Musical, I played the lead role in Oh What A Night, and was part of the original cast of a brand new musical called Hell-sing. I've also done a few things on tv including a spot on a show called Octavia, as well as being a choreographer on Don't Tell the Bride. I've done lots of photo shoots for upcoming swimwear labels/designers, as well as editorial shoots. So there's definitely lots of variety! Commercial gigs are also happening for me too so I guess there's a lot of opportunity over here in all aspects of the industry. But there's just as much competition too.

Christine: You studied at Brent St Studios in Sydney for many years, how do you think the training there has helped you find work over here?

Adam: I did train at Brent St for a number of years and all in all I would say the most beneficial aspect that aided me more than anything was the amount of male teachers I got to learn from. Their influence was huge! I think these days it's so important that men dance like men and Brent St exposed me to so many strong male choreographers. I learnt a great deal from them and have used it to my advantage over here in the UK.

Christine: How did you go about getting the appropriate visas to work in the UK? Was it difficult? And how did you find an agent?

Adam: I was quite lucky actually in regards to the whole visa issue. Many Australians who work in the UK seem to have problems with it and their time here is limited. Being half Italian though, I managed to obtain an Italian/European passport, which allows me to work for the rest of my life both here in the UK and in Europe. It definitely is a luxury. It took a little while to obtain the required documents from my parents and their parents but it was definitely worth the hard work!

In as far as getting an agent, I had a few friends who were already in the industry over here and they gave me a short-list of great agents who were worthwhile being with. There is a book titled ‘Contacts' which is available in the UK which lists all of the agents in film, tv, commercial dance and musical theatre. It provides lots of helpful information, but knowing who's good or not is a hard task. Here in the UK you can have as many commercial dance agents as you want, but in musical theatre only single representation is allowed. This allows the agent to focus on you solely as an individual and to push you for auditions in the genres of dance you're strongest in.

Christine: What do you think are the biggest differences working in the UK to working in Australia?

Adam: One of the major differences I've noticed, especially in regards to musical theatre is that in Australia you go for an audition and if you're perfect for the show talent wise then you get it. Whereas here in the UK, each show requires different and specific looks etc and with the wide array of people around they can be a lot more picky! If they want a blonde haired blue eyed person then they will get one -no matter how talented you may be. I guess you have to fit the mould as they say.
I've also noticed that here in the UK they can take quite a while to cast shows. They can take months. It can be quite nerve racking waiting to find out if you've got a show over such a period of time!

Christine: What advice would you have for someone wanting to pursue a career in the performing arts in London?

Adam: I would absolutely say go for it. Whether I was going to succeed or fall flat on my face - at least I had the guts to say I tried. My advice would be to gather every bit of information needed before you head over. Like agents details, know who you want to have meetings with, sort out your bank account( which can either be done in Australia before leaving or done here in the UK) and most importantly know what you want to set out to achieve and trust that you can achieve it. I won't lie, it definitely takes a little while. You don't just land a job straight away. It really depends on how patient you are and how much you're determined to succeed.
Having said that - now that I am here and working, London has given me more confidence and enabled me to know within myself my strengths and weaknesses as a performer.

Christine: Do you think it is important to be able to sing?

Adam: If you want to come over and concentrate on commercial dance, then no, it's not that important. But if musical theatre is what you're after then being able to sing well is definitely a bonus. I have found that the UK has overall stronger singers. I guess you don't have to have the most amazing voice, but having confidence in your own abilities vocally would be a plus for sure.

Christine: I have been told that there is a much broader range of work available in the UK - for example trade shows, hair shows in Europe etc - have you found that to be the case?

Adam: That definitely is the case. Trade shows, bridal shows, hair shows and other corporate events are a big part of the commercial dance scene. These pop up on a regular basis and offer dancers a lot of work. These jobs happen in the UK and all around Europe so it offers dancers a great way to travel across Europe and discover different places whilst being paid to do it. So it's a bonus for sure.

Musical theatre provides the same as you have plenty of shows in the West End which are always casting at different points in the year. You also have touring musicals which travel around the UK as well as internationally, giving dancers and actors a chance to see different places.

In comparison the Australian market/industry is quite small and limited. The UK provides an expansive array of work opportunities, so you can potentially have a better chance of work in all aspects of the industry depending on what you want to pursue.

Christine: What qualities do you think make one dancer more employable than others?

Adam: I think these attributes can vary depending on the job and what's being cast. All in all a dancer with personality and an individual warmth makes a unique performer. Obviously being technically great at your art is necessary but having that something extra like being able to flip or break dance or having an individual flair can separate you from the crowd.

Christine: What advice would you give about going to auditions? How can you stand out and get the job?

Adam: Auditions are always daunting no matter what they are for. I still hate them to this day. But the one bit of advice I'd give is to know your own ability and to go out there and bust out. Having confidence in yourself definitely shows and it helps big time. One of the worst things people do is check out the competition within the room and compare themselves to others. Stay focused on yourself and use each stage of the audition process as a stepping stone to obtaining the job!
As far as standing out amongst the crowd, just be strong and be likeable. No-one wants to wok with unprofessional people.
If you have confidence in yourself then the people judging will grow to have confidence in you as well.

Christine: What do you love the most about living and working in London?

Adam: I absolutely love the lifestyle more than anything. The constant hustle and bustle and fast pace has made my time here fly by. I love the opportunities that are given here for dancers and the amount of work that's available at your finger tips. It's up to the individual to get out there and grab the jobs.
Another perk of living in London is the fact it's so close to Europe and traveling can be quite cheap and not that far. In between jobs I've managed to get away on holiday a few times and visit places I've never been to. Traveling is one of my favourite things to do.

Christine: What do you miss the most about being away from Australia?

Adam: Wow where do I start? There are so many things I miss. Obviously my parents and family. As I come from a close knit family being away gets difficult at times as your parents aren't around the corner. Being half Italian I miss my Nonna's cooking and all the Italian food she makes. And I miss my friends and just the usual people I work with back home.
One of the biggest things I miss is the sunshine and warmth of Australia. The quality of life is a lot better back home and to just wake up in the morning without having to put loads of layers of clothing on would be nice. Hopefully I will be able to come back home soon enough to visit and enjoy all the comforts of Aussie life. I definitely wouldn't change a thing in regards to moving to the UK though. Regrets I definitely don't have any!

Christine: Well thanks so much Adam for taking the time out to have a chat today. It has been great to catch up! Keep me posted and perhaps we can chat to you again in the future and see what you are up to next!

So - there you have it guys. The low down from someone living and working in London.
If you have any questions - drop me a line and I can find you an answer from Adam or one of the many other Aussie dancers taking on London!

Till next time!

WHATEVER YOU ARE DOING - DO IT WITH PASSION!

Christine Denny

Yesterday I went along to Sydney Dance Company where the auditions are being held for West Side Story to interview the shows Directory Joey McKneely. Monday and Tuesday were big days for the Creatives, seeing hundreds of dancers with high hopes of being cast in this dance musical. Joey was very warm and passionate about his role. In the interview Joey speaks about Melbourne and Sydney dancers on who have presented better at the auditions.

Click on the interview about to hear Joey chat about the show.

Read more about Joey in the below post.

DanceLife caught up with dancer Tiana Brown who is currently touring with Britney Spears Circus Tour. Tiana kindly sat down with DanceLife to chat about her career, dancing for Britney and what's involved in being a dance captain on the tour.

Ambitious and bright Tiana Brown is quickly rising through the ranks and establishing herself as one of Hollywood's leading talents.

As a dancer, she has worked with the top pop artists of our generation. From Cedar Rapids, Iowa, Tiana trained at Dance of Iowa Academy and at Broadway Dance Center in New York. She has done two world tours with Christina Aguilera, and worked with Jennifer Lopez, Britney Spears, Fergie, Toni Braxton, Christina Milian and Snoop Dogg. This beauty performed in the Olympics Closing Ceremonies in Utah and danced the stages on The Ellen DeGeneres Show, The Tonight Show, Saturday Night Live, Good Morning America and several award shows.

Our next On The Couch With Christine Segment is with François Klaus and Robyn White from the Queensland Ballet.
With 24 young, athletic and technically accomplished dancers, Queensland Ballet is a vibrant and creative company which presents a varied repertoire of dance works. One of only three full-time professional ballet companies in Australia, Queensland Ballet is a showpiece of the State's arts culture.

Under the artistic direction of French-born François Klaus since 1998, the Company presents approximately 100 performances each year. Its repertoire ranges from popular classics and full-length story ballets to new works in a variety of dance styles by reputed Australian and international choreographers, as well as emerging local talents. Works such as The Little Mermaid, which are designed especially to appeal to children and families, are another much-loved feature of the annual program.

In addition to performing in Brisbane, the Company tours each year to centres large and small in regional Queensland, as well as making interstate and overseas visits. With its audiences growing each year, Queensland Ballet enjoys a well-established reputation for passionate and innovative performance, both nationally and internationally.

The Company's home is the historic Thomas Dixon Centre for Dance in Brisbane's West End. The building was first built as a shoe factory in 1908. It now boasts four large dance studios, one of which, the Charles Lisner Studio, can be adapted as a comfortable and intimate performance venue. These excellent facilities enable the Company to offer a full range of training and community access programs.

With a firm commitment to nurturing young talent, Queensland Ballet offers dance students from as young as 11 years the opportunity to access the skills and experience of its artistic staff, ensuring a very high standard of training in the Junior Extension and Professional Year Programs, as well as in the Queensland Dance School of Excellence (a program offered in partnership with Education Queensland).

History of Queensland Ballet
Queensland Ballet was established in 1960 by Charles Lisner OBE. Lisner trained with Edouard Borovansky and danced with his ballet company before going to London to continue dance studies with the Sadler's Wells Ballet School. He later joined The Royal Ballet, Covent Garden. In 1953 Lisner returned to Australia to open the Lisner Ballet Academy, and in 1960, the Lisner Ballet Company.

The Company was re-named Queensland Ballet in 1962 and became the first ballet ensemble in Australia to tour to regional centres, a commitment which continues today.

In 1974, Charles stepped down as Artistic Director and Chief Executive Officer, to be replaced by Harry Haythorne. Following Harry's departure in 1978, founding Company member and Principal Dancer, Harold Collins, was appointed as Artistic Director. Collins led the Company until his retirement in 1997, maintaining Lisner's commitment to the creation of uniquely Australian dance, and to forging a strong and independent company.

Following an impressive career in Europe as a principal dancer, teacher and choreographer, François Klaus was appointed Artistic Director and Chief Choreographer of Queensland Ballet in 1998. Under his artistic stewardship, the Company has continued to prosper and grow, forging and ever-more significant place in the Australian cultural landscape and winning international acclaim.

Our next ‘On The Couch with Christine' interview is with the Director of The Next Step, Jason Lewis. Check out the details below for info on their show that is happening at Luna Park next Saturday 21st November.

The Next Step, Directed by Dein Perry, Created and Choreographed by Jason and Kris Lewis is BOLD, INNOVATIVE, FRESH and GUARANTEED to IMPRESS.

This all male group of young performers will set the stage on fire with their unique fusion of hip-hop, tap, break dancing and live music. The vocalists, musicians and dancers fuse together to create a high voltage, mesmerising show.
It's street and stage, dance and music at its finest.

The Next Step has performed on the MTV Awards, Splendour in the Grass, The Helpmann Awards, alongside Sir Elton John and Mornings with Kerri-Anne.

After SOLD OUT shows at The Metro Theatre, Sydney in 2008, The Next Step are bringing their brand new show to the Big Top at Luna Park for 1 show only, Saturday 21 November, 2009. Book now, so you don't miss out!

The Next Step has released their EP, which features three tracks and three music videos including their debut single and remix "Do It On The Dance Floor".

This show is fun, entertaining and suitable for all ages. The Next Step is sure to leave you short of breath. To buy TICKETS to the Big Top Show visit www.thenextsteponline.com