JOHN MEEHAN AT THE ACADEMY

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DANCE

NO 9 NOVEMBER 1994 AT THE ACADEMY

QUEENSLAND UNIVERSITY OF TECHNOLOGY, ACADEMY OF THE ARTS, DANCE PROGRAM, LOCKED BAG NO 2, RED HILL, QLD 40S9

john Meehan guides Miranda Glikson through an intricate ballet move.

ACADEMY WELCOMES JOHN MEEHAN AND WENDY HOUSTOUN

Leading international guest artists John Meehan and Wendy Houstoun have made two vastly different contri- butions to this year's graduation dance season tour Body & Sole.

John, a former Australian Ballet star now living in New York, spent five weeks at the Academy choreograph- ing and teaching the advanced level performance majors, culminating ·in the neo-classical ballet Aquilegia.

Renowned independent artist

Wendy Houstoun from London spent 10 weeks directing and choreograph- ing a film project supported by the Academy's Centre for Innovation in· the Arts.

_ Dance at the Academy provides one of the most innovative dance courses in the country and is commit- ted to providing an exciting learning environment for students. The oppor-' tunity to work alongside and learn from high pro~ artists, choreogra-

phers and teachers is paramount to this commitment.

Both John's and Wendy's projects place the Academy in an enviable position within the Australian tertiary dance scene for its innovation, quality and high standards.

Read more, about John and Wendy and their respective Academy projects on pages 2 and 3.

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JOHN MEEHAN AT THE ACADEMY

John Meehan was born in Brisbane- and began his early dance training with Patricia McDonald. At 1 7 he was accepted into the Australian-Ballet School, graduating in 1969. John became a member of the Austral ian Bal- let in l970, was promoted to s~loist in 1972 and to principal artist in 1974.

John's performance qualities, im- maculate line, strong technique and noble presence soon brought him to prominence in leading roles in The Sleeping Beauty, Romeo & juliet, Don Quixote, The Lady and the Fool and La Fille Mal Cardee. John also created one of the leading roles in Glen Tetley's Gemini. One of John's greatest tri- umphs was his interpretation of Count Danilo in the premiere of Ronald Hynd's The Merry Widow, performed by the Australian Ballet in 1975. John danced the role opposite Marilyn Rowe and the following year with Margot Fonteyn on Broadway and in London.

In 1977 he joined American Ballet Theatre as guest artist for the spring season and later became the company's resident principal dancer. During his time with ABT, John performed the leading roles in many ballets including Fokine's Firebird and Les Sylphides, George Balanchine's Theme and Vari- ations, Tetley's Sphinx, Pierrot Lunaire

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and Voluntaires, Ben Stevenson's Three Prelude_,s, Anthony Tudor's The Leaves are Fading and Lilac Carden,

Baryshn~kov's Don Quixote, The Sleeping Beauty, Swan Lake and Giselle. John also choreographed two original pas de deux for Ballet Thea·

tre, Le Retour and, Adagio for Strings.

In 1980, John left ABT to broaden his career as an actor, singer and choreographer, while remaining ac- tive as a guest artist in the ballet world. During this time he choreographed Echoes for the Washington Ballet, sang and danced in a featured role in the musical revue Noel and was guest artist with various international ballet companies. John made his London West End musical debut in 1983 starring in Andrew Lloyd Webber's Song and Dance. He subsequently performed in the critically acclaimed Australian production. In 1986, John made his Broadway debut, also in Song and Dance, performing opposite Tony Award winners Bernadette Peters and Peter Buckley. Following Broadway, John led the American national tour of the same show co- starring with Melissa

Mancheste~.

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John's work is influenced by the American dance scene, in particular the work of the late George Balanchine, founding Director and and long-time mentor of the New York City Ballet. In 1985,John danced with New York City Ballet star, Merril

WELCOME ...

November 30 sees the openrng night of the 1994 Dance Graduation

·Season Body & Sole. Read about Body

& So/e'sexdtinghighlights, including a neo-classical ballet choreographed by John Meehan and a film work by Wendy Houstoun, on page 3.

This issue also insludes an update on the myriad of renowned guests who have graced Dance at the Acad- emy's studios this year and reports from Academy dance lecturers about Kindle the Fire and The Art ofT each- ing Dance conferences.

Final year student, Miranda Glikson, talks about her secopdme.nt to Singapore Dance Theatre and we catch up with the dance activities of current students and graduates.

Ashley in Sleeping Beauty, which led to guest appearances with NY City Ballet, partnering Merril in Balanchine's Nutcracker Divertimento No 15, The Four

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peraments, Counod Symphony, Swan Lake and Piano Concerto No 2.

In 1986, John performed as guest artist in The Merry Widow with the National Ballet of Canada at the Kennedy Centre in Washington D.C.

and 'the company's tour of western -Canada. John performed the role created for him, Count Danilo, in a~

Primedia/CBC TV production of The Merry Widow partneri ng the National Ballet's star, Karin Karin.

In 1990, John was appointed artistic director of Canada's Royal Winni- peg Ballet adding many fine ballets to the company's repertoire. After three and a half years, John returned to New -York to teach at the David Howard

Dance Studio.

John is pleased to have returhed home to Brisbane to teach and choreograph for the Academy. He is full of praise for the high standard of classical ballet and the professionalism of the students he worked with. The students are appreciative of John's vast knowledge and experience, shared with them during his Academy residency.

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VENTURING INTO FILM WITH WENDY

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workshopping and rehearsals, the gro1,1p spent a week on location for the actual filming. ETV provided the production crew and logistical support and worked with Wendy on post-pro- ducti0n editing.

Wendy was born in London and trained at the London College of Dance and Drama, receiving a Diploma_ of Education enabling her to teach drama and dance in state schools. However, Wendy embarked on a freelance performance career with the Ludus Dance ' in Education Company; The Kosh Ac-

robatic Theatre, the Lumiere and San Theatre companies.

Wendy Houstoun

As a freelance artist, Wendy worked with Rose English (performance artist) and theN igel Charnock Cabaret show.

,, She later worked with Lucy Fawcett and with _the highly acclaimed Lloyd Newson and his DV8 Physical Theatre.

Wendy Houstoun's wide experience in performance art, dance theatre and dance for video, as well as her teaching backgroun-d, has proved an ideal base to direct and choreograph Dance at the Academy's debut ven- ture into film. The 15 minute video . presentation Silence of the Limbs wi II be a feature of the Body & Sole dance graduation at QPAC and on the North Queensland regional tour.

The project involved six Academy Dance' students who worked with Wendy alongside a film unit from QUT's Educational TV Unit (ETV).

Following several weeks of intensive

Wendy has appeared in many tel- evision advertisements, videos and solo performances in LondQn. She has taught and choreographed throughout Europe including the Royal Shake- speare Company, the Vienna Actors' Centre, Traverse Theatre Edinburgh and The Royal Exchange, Manches- ter. Recently she received fundingfrom the Arts Council of Great Bcitain to undertake an independent dance project for video.

A close-up from Silence of the. Limbs

DANCE TEACHERS GATHER

Queensland; s first~te-widedance conference, The Art of Teaching Dance, organised by Ausdance and supported by QUT; Arts Queensland;

The Queensland Ballet; Queensland Department of Education; and the Metropolitan Dance Network, was held in Brisbane in June.

Academyr Dance 'staff member 'Kr.isten Bell presented a paper on "Why and How Do We Teach Dance?" and Tony Geeves addressed•''The Chang- ing Role and . Responsibility of the Dance Teacher''.

. Je~n 1T ally worke? with Maggie S1etsma on "lntroducmg Chc>reogra- phy,to Students", Shaaron Boughen presented "Teaching IViodern Dance to Thirteen Year Olds and~bove", Janet Donald's Workshop was "Teach- ing+ Democratically" and Dianna Laska-Moore's contribution was "Folk Dances for Little Kids and Big Kids".

Feedback was very po$itive and hopefully the conference will become a regular event.

Jean Tally

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KINDLE THE FIRE

The 6th Triennial Dance and the Child International Conference, Kin- dle the Fire, held at Macquarie Uni- versity was well-represented by Acad- emy Dance staff- Tiina Ali-Haapala, Kristen Bell and Tony Geeves.

It was interesting ~o learn about dance education throughout the world - from politically radical education program~ in Brazil ro performances by young South Africans and even younger Fins. It engendered a feeling of community to hear of simHar strug- gles occurring in many different cultural contexts. .

It was surprising'to realise that dance education in Australia, particu- larly in Queensland, was in a relatively strong position compared to other countries. Dance educatio_n seems to have a more stable position in the mainstream curriculum.

Kristen presented two papers:

"Who Should Teach Dance in Main- stream Education?({ and "Issues in As- sessment in Dance,Education". Tony presented ''Danceplay: •N Gender Is- sue for Early Childhood Education in Australia".

Kristen Bell

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Dance at the Academy's 1994 graduation season Body & Sole, a program of entertaining and contrast- ing dance styles, opens at the QPAC Concert Hall on Wednesday 30 No- - vember, followed by ,a. Queensland regional tour to Rockhampton,- Proserpine, Mackay, Capella and Gladstone. ·

-Master choreographer

Leading Australian dancer and former director _of Canada's Royal Winnipeg Ballet, john Meehan, has choreographed an exquisitely beautiful neo-classical ballet 'work, Aquilegia, danced to a French oboe concerto. Currently based in New -..York, john returned to Brisbane as a guest artist

of

QUT fo choreograph for Body & Sole, and work with the ad- -vanced lev~l classical ballet class.

Another ballet to high I ight the ppl- ished professionalism of the Acad- emy students will be Harold Collins' Strange Pilgrims. This elegant neo- classical' ballet is the second of il trilogy ofworks Harold, artistic director of the Queensland Ballet, intends to choreograph for the Academy.

Danceq by fi\le couples, the work is dedicated to dancers and what they strive for within their artform. Set to music by Rossini, and staged in three movements, Strange Pilgrims ebbs and flows with fluid clarity of classical line and technique. '

DANCE

BODY & SOLE

Silence of the Umbs

London choreographer, Wendy Houstoun's work Silence of the Ljmbs wi II mark the first appearance of dance film in a 'dance graduation show. The

fs minute video is a demonstration of the Academy's comn:Jitment to innovation. The work features close-ups of six Academy Dance students.

/ Bindies' hypnotic weir

An hypnotic web of ritual is weaved through Leigh Warren's Never Mind the-Bindies. Former artistic director of Australian Dance Theatre and now running hi sown Adelaide-based dance company, Leigh danced with the Aus- tralian Ballet before embarking on an extensive international career with Ballet Rambert in Lond-on and the highly acclaimed Nederlands Dans

Theatre. _

The inspiration for Never Mind the Bindies, with music by Drums of Chaos, evolved from Leigh's fascina- tion with the ability of dance to induce a trance state through relentless rhythm and movement. "The minds and bod- ies of the dancer::s become one, push- ing themselves beyond the normal boundaries of human architecture which, in turn, releasesthe spirit, leav- ing the dancers exhausted yet ecstatic,"

he said. QUT dance students performed Bindies at fbe Options '94 tertiary dance festival in Perth.

Leigh Warren's V}/Ork Never Mind the Bindies will be re-mounted for Body & Sole

The world of dolls

jea11 Tally's lm Perfect Oreamstakes - a light-hearted look at the world of dolls. jean, a freelance choreographer and contemporary dance lecturer at the QUT Academy of the Arts, was inspired for this work by the current

· dance students. Using ---a variety of dance styles jean captures the indi- vidual phy~ical skills and personality of the dancers in representing many different kinds of dolls from cut-out paper dolls to Spanish dolls, ballerina dolls, porcelain 'dolls, cgwgirl dolls and, of course, Ken and Barbie dolls.

Utilising a range -of musi~ from K.D.Lang's Even Cowgirls Get the Blues to the Australian a cappella group Arram Aida, jean's work provides unexpected and light-hearted'

ways of capturing the ;imagination, with props generously lent by World

4 Kids. '

Nikolaus Gobel, a leading dancer at jupiters Casino on the Gold Coast and former German stage and televi- sion dancer, has choreographed a high en~rgy modern jazz work to mu~c by _ Malcolm McClaren. Sensual, energetic and scintillating- the Academy dancers find Nikolaus' choreography a challenge to perform.

Adventurous and entertaining

\ Body & Sole is an adventurous, entertaining and exciting program of dance. The Academy dance produc- tions over recent years have delighted audiences as far afield as Tokyo, as well as Adelaide, Perth, Brisbane, Rockhampton, Mackay, Proserpine and Gladstone. Dance lecturer and performance cou-rse coordinator, Graeme Collins w'ill offer a brief intro- duction to the program and the course work students undertake at QUT, one of the largest universities in the country.

During the Queensland regional tour, Academy dance lecturers and final year students will conduct two one-hour workshops concluding with a discussion on career opportunities in performance and other dance-re- lated areas studied at university. Par- ents and teachers are welcome to at- tend the_ discussion. For registration and further information, telephone the theatre.

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NEW MOVES EXPANDED

(L-R) Yasmine Str6m and Sally

Wicks

This year, the anrual display of fresh ,student-choreographed work, New Moves, was expanded to offer two full seasons.

The first season featured a collec- tion by Bachelor of Arts and Associate Degr~ in Dance s~~dents. Season 2 highlighted works by BA choreo- graphic majors and postgraduate stu- It

dents.

Ranging from classical ballet to contemporary, the dances showcased the promising potential of the students in the realm of choreography.

Julie Weller's entertaining musical theatre piece, Swinging in the Moon-

lig.,ht, proved popular with audienceS

asrdia Miranda Glikson's gracefyl ex- ploration of contemporary movement using pointe work.

Yasmine Str<>m choreographed .a I ively piece entitled Playmates, while Karina Smith presented l!ight Lines and Players. Fiona Mcllkenny combined contemporary movement and Irish dance, while James Stafford choreographed Running Moon Shadows.':;;

Sarah Lovatt, Elizabeth W~ner, Alison Ryall and Kate Mcintosh also chose to choreograph contemporary works.

In New Moves II, Katie Joel presented

Doors,

Sandra Inman The Look- ing Glass and Helen Leeson Study in Circles, inspired by a photograph and circles. Amanda Hollyman choreographed an intriguing, contemporary dance involving six dancers and an elaborate set.

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FOLKLORIC PREMIERE

Ten graduates' of the Academy

, dance courses toured the state during

October and November with the Aus- tralian Folkloric Dance Company. Covering almost 5,000 kilometres over a three week period and encompass- ing '19 cities arid towns, the tour con- cluded with an energetic and entertaining performance at QPAC's Cremorne Theatre.

· The Austral-ian Folkloric Dance Company was formed with the aim of preserving, presenting and promoting the folk culture of Australia's diverse fDUiticultural society through the me- dium of dance. The Company's latest season highlighted a wide variety of folk dances from around the world.

The performance expressed the div,ersity of dance- moving from the

gentle soothing sounds and dance of the Philippines to the boot clapping and rhythmic stamping of the Hun- garian dances, to the toe-tapp) ng swirl- ing of Ameritan Clogging and the hauntingly beautiful music and dance of Israel.

Ten of the 12 dancers with the Australian Folkloric Dance Company are QUT Academy of the Arts- Dance graduates: Bruce Wells (ADA 1988);

_Ross Hounslow (ADA 1989); Fiona Malone (ADA 1990); Rumini Atma (ADA 1992); Tammy Meuwissen

·(ADA 1991 ); Michele Carolan (ADA

1993); Penelope Moore (ADA,1993);' Greg Tebb (BA 1993); Damien Hoyle (ADA 1991) and Nicole Brown (ADA 1989).

GRADUATE GOSSIP

Rumini Atma (ADA '92) and Fiona Malone (ADA '90), both previously with The Australian Opera, have joined the Austr?lian Folkloric Dance Company.

Darren Vizer (ADA '91) and Gabrielle Johnson (ADA '92) are now dancers with The Australian Opera.

Nicole Galea (BA '92) is dancing in The Queensland Ballet's current season, Carmina Burana.

Avril Huddy (BA '93) and Mylan Soriano (BA '93) worked-on Access Arts' disability theatre production Pas- sions and Perceptions, Avril as a per- former and Mylan as Assistant Stage Manager.

Wendy Laraghy (ADA '84} has moved from chilly Switzerland's Basel Ballet to work in sunny Florida with Florida Ballet. ·

Sydney dance company, Dark Swan, has welcomed two Academy graduates on board- Lisa O'Neill (ADA '92) and Lealme Ringelstein (ADA '92).

. Sonja Peedo (ADA '89) of Expres- sions will be travelling to Europe later in the year to take dance classes with companies including Rambert Dance Company and Nederlands· Dance

·Theatre. ' -

Robert Tannion (BA '92) is· cur- rentlyperformingwith Lloyd Newson's DV8 Physical Theatre.

During a trip to Sydney in July tq 'get away from it all', dance lecturer Graeme Collins, kept running into familiarfaces. These included Tammy Meuwissen (ADA '91 ), Victor Bramich (ADA '89) and Paul O'Sullivan (ADA '87) who were dancing in the com- / bined Leigh Warren and Dancers

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Chrissie Parrott performance~fnemy

in the Figure, and a number of students 'and graduates amongst the au- dience. ·

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EMINENT GUESTS AT THE ACADEMY

. Dance at the Academy has had a very full year of guest lecturers, both national and international. Their contribution is invaluable and assists students in creating a sense of the dance industry and their place in it.

Easter saw the-arrival of Australian Lloyd Newson, Artistic Director of DV8 Physical Theatre based in Lon- don. Lloyd Is. well respected in the international dance industry and we were fortunate to have him give a series of workshops to our advanced composition and Master of Arts stu- qents. Independent dance artists. in the community were .also invited to take advantage of this opportunity.

Lloyd's visit overlapped with Tas- manian-based choreographer and teacher, Neil Adams who was spending an intensive two weeks creating a new work for the second year BA students for their practicum visit. Nei I' s work Naked Forest was performed at the mid-year season Dance Collec- tions in the Woodward Theatre.

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July, we hosted a visit from New York's Da_vid Dorfman, Artistic Direc-

tor .of David Dorl"man Dance. David spent a full week teaching technique and composition workshops across all courses. The highlightoftheweek was a presentation of David's company's work, enthusiastically attended by all. We crowded into the lecture ro<;>m and viewed excerpts of David's work whic;h was characterised by a well- developed sense of theatricality with liberal doses of humour.

· Hot on David's heels came a brief encounter with Jack Anderson and George "Dorris. We were entertained bytheirdouble act with well-informed remarks and information flying back and forth between them. Jack has had a long association with the dance world and is currently a dance critic for the New York Times. Both he and George co-edit Dance Chronicle- an assem- bly of research papers from contribu- tors around the world. They also spoke highly of the work of David Dorfman Dance.

Brian Lucas, ex-Expressions dancer of many years is now freelancing. Stu- dents in our Level 1 Contemporary

Technique class are benefiting from Brian's background in theatre and dance as they take a weekly improvi- sation class with him.

Leonie Leahy, ex-p~ofessional dancer with the Austral ian Ballet Com- pany and Norwegian Ballet Company shared her expertise with first year Associate Degree students when she remounted excerpts from Coppelia for Dance Collections. Leonie, currently studying for her BA (Dance) with the Academy, is in the process of retrain- ing and gaining new skills in the area of Dance.

Shaaron Boughen

J

Clinton Short and Leanne Spence

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SECONDED TO SINGAPORE

Recently, I had the wonderful opportunity of spending one week with a company of my choice combined with the experience of overseas travel- one of fbe most rewarding experiences I think a dance student can have.

Singapore Dance Theatre (SOT) is a relatively new ballet company (1987) of only 17-18 dancers. It was re_com- mended to me as suiting my repertoire, standard and style.

With a greatly appreciated Gradu- ate St~dent Scholarship from Dance at the Academy (on top of an unavoid- able bank loan!), much moral support from lecturers and after tumults of letter writing and travel arranging, the 'vision' became reality. I was on a jet heading for a foreign country, assured by everyone that English was the pre- dominant language.

I was made to feel. extremely welcome by all the company, especially the ballet mistress (ex Royal Ballet) who, after having met with Sue Street when she visited SDT earlier in the year, was excited at the prospect of visiting Australia next year and taking classes at the Academy. The classes shegaveatthecompanycouldn'thave been better - she passionately pours every ounce of her energy into her coaching. .

Although SDT had a few interesting female dancers, I thought their males were more exciting both techni- cally and artistically. (I stood and watched, my mouth agape, as one of the principal men calmly executed about 14 en dehour pirouettes in retire immediately followed by ten in 2nd position, stop, then repeat it all again at least four times!) '

I was also impressed by a commit- ted work ethic in the classes and rehearsals. The atmosphere in classes was electric - their dedication to im- provement in all areas was of the high- est level and they lapped up every correction given to them even though some of them 'had been professional for years.

The repertoire of SDT is a blend of traditional and modern ballet as well as some contemporary works by choreographers such as Leigh Warren and Graeme Murphy.! watched rehearsals of their annual traditional classic (this year, Sleeping Beauty), a couple of

their modern ballet works by local choreographers, and repertoire · fqr school shows which they do quite. regularly.

The company is situated in a beautiful park atop a hill and the old colo- nial building is trimmed with balco- nies - probably the coolest vantage point in tropical Singapore. However, amidst a concrete jungle in 33 degree heat, breathing air so thick with hu- midity you can see it, it makes little difference. No matter what you do, you're still soaked in sweat after plies ...

My most difficult test of self-discipline throughout the trip was trying not to run back and hibernate inside the air- conditioned comfort of my hotel room every morning as I left for the train!

Singapore is a cross-cultural blend of ancient and modern. People carry on their multitude of traditions, wor- shipping Mohammed, Buddha, Confucious or Jesus Christ, in the midst of a computerised and neon-lit city.

Colourful Indian saris, Muslim chadar robes, head veils, fez, skull caps, straw coolie hats and sarongs are worn side by side with contemporary Western dress code, but it was me-they were staring at!

I dared to visit the back streets of the Indian, Chinese and Arab commu- nities where tou-rists don't usually ven- ture, and I was in awe of.the different cultures which existed there. It was an odd feeling being stared at everywhere and knowing you stick out like a sore thumb.

I received extremely positive feedback from the company and although they told me they had nothing~avail

able at the time they were most en- couraging and promised to keep in touch. The trip was a most worthwhile experience from all aspects, giving me a taste of what I hope will be more to come iri the future- travel and dance!

Miranda Glikson

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Sally Wicks

STU

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DENT NEWS -

Miranda Glikson spent a week with Singapore Dance Theatre (see story opposite) and has signed a three-month contract with the Queensland Ballet to perform Clara in The Nutcracker next year.

Scotia Monkivitch coordinated CULTIVARTS eX-Tensions Project.

The project involved six Cultivart artists and more than 60 people with psychiatric illnesses. It ran for 10 weeks culminating in an exhibition of giant puppets, short theatre pieces and visual artworks at City Hall in May.

Karina Smith gladly accepted an offer of six weeks work with Tasdance after completing a residency with the company several weeks before. Karina also choreographed a contemporary piece for the Options Tertiary Dance Festival in Perth earlier in the year.

Sally Wicks was one of eight final- ists in the GIO 1994 Australia Ballet Scholarship's City of Sydney Perform- ing Arts Challenge, from an original 90 competitors.

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AUDITION DATES

Brisbane

Studio 1, 0 Block, QUT, Kelvin Grove Campus

ADD 14 Nov, BA 15-16 Nov BA Int-erviews 16 Nov

Rockhampton

Debra Parker Academy of Dancing ADD & BA 16 Nov

Mackay Theatre Arts Mackay

ADD & BA 17 Nov Townsville

Ann Roberts School of Dancing ADD & BA 18 Nov

Cairns

Rate Payers Hall, Manoora ADD & BA 19 Nov -

Sydney

Sydney Dance Company ADD & BA 16 Nov

Canberra

National Capital Ballet School

ADD & BA 17 Nov

Adelaide

Susan Taylor Dance School

ADD & BA 18 Nov

Melbourne -Victorian College of Arts

ADD & BA 19 Nov

For further information contact tne Darice Secretary on (07) 864 3423

STAY IN TOUCH

If you would like -to submit an article or tell us the whereabouts and activities of past dance studeots from QUT and BCAE, contact: The Editor, Dance at the Academy, QUT Acad- emy of the Arts, Locked Bag No 2, Red Hill, 4059. Tel (07) 864 3423, Fax (07) 864 3 734. Photographs should be good quality colour or black and white prints. The deadline for the next issue is 31 Jan'uary 1995.

BODY & SOLE

PERFORMANCE AND TOUR DATES

' Brisbane QPAC Concert Hall 30 November and 1 December 8.00pm Adults $15 Concessions $10

School Groups $6 Rockhalnpton ...

Performing Arts Centre 3 December 8.00pm

Proserpine ...

Cultural Centre 6 December 8.00pm

Mackay

Performing Arts Centre 8 December 8.00pm

Capella ...

Cultural Centre 1 0 December 8.00pm

Gladstone ...

City Theatre 12 December 8.00pm

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JOHN MEEHAN AT THE ACADEMY

DANCE

ACADEMY WELCOMES JOHN MEEHAN AND WENDY HOUSTOUN

JOHN MEEHAN AT THE ACADEMY

DANCE---

Mancheste~.

WELCOME ...

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VENTURING INTO FILM WITH WENDY

DANCE TEACHERS GATHER

KINDLE THE FIRE

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DANCE

BODY & SOLE

DANCE---

NEW MOVES EXPANDED

Wicks

Doors,

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FOLKLORIC PREMIERE

GRADUATE GOSSIP

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EMINENT GUESTS AT THE ACADEMY

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SECONDED TO SINGAPORE

Miranda Glikson

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STU

DENT NEWS -

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AUDITION DATES

STAY IN TOUCH

BODY & SOLE

PERFORMANCE AND TOUR DATES

' Brisbane QPAC Concert Hall 30 November and 1 December 8.00pm Adults $15 Concessions $10

School Groups $6 Rockhalnpton ...

Performing Arts Centre 3 December 8.00pm

Proserpine ...

Cultural Centre 6 December 8.00pm

Mackay

Performing Arts Centre 8 December 8.00pm

Capella ...

Cultural Centre 1 0 December 8.00pm

Gladstone ...

City Theatre 12 December 8.00pm

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