New Zealand School of Dance classical ballet students Joshua Linkhorn and Patrick Nawalowalo McCrory. Photo by Stephen A’Court.
The New Zealand School of Dance (NZSD) is proud to announce its highly anticipated Performance Season, showcasing the extraordinary talent of its students. With two alternating programmes of ballet and contemporary dance, this season promises to captivate audiences with outstanding choreography and breath-taking performances.
In these specially curated programmes, students from across the School’s three year groups will showcase their artistry in an impressive repertoire of legacy pieces, collaborations with inventive choreographers, premieres and commissions.
The ballet programme features captivating works from three renowned American choreographers, staged by former Ballet Master for San Francisco Ballet, Betsy Erickson.
Acclaimed dance maker Val Caniparoli will be represented by his quirky, playful Street Songs and intense duet, Double Stop. Former Artistic Director of San Francisco Ballet, Helgi Tomasson’s Meistens Mozart is sweet and charming, while Lew Christensen’s Vivaldi Concerto Grosso is an inventive, neo-classical gem that has not been performed previously by the School.
New Zealand School of Dance contemporary dance student Aleeya McFadyen-Rew. Photo by Stephen A’Court
Expressing his excitement about this year’s programme, NZSD Director Garry Trinder said, “Coming out of Covid, we wanted to use this year’s ballet programme to reconnect with some of the international choreographers and répétiteurs we have long been associated with. This year’s programme comprises three works that have proven to be enduring and popular with our audiences, as well as a work that will be new to us, offering a fresh and invigorating challenge to our students.”
In the world of contemporary dance, we take great pride in the involvement of our talented NZSD graduates, who are both re-staging existing works and creating new ones.
Former Australian DMEDance Theatre Artistic Director, Garry Stewart, presents his enthralling creation, The Beginning of Nature. This powerful work explores the intricate relationship between humanity and the natural world, leaving audiences captivated by its thought-provoking narrative.
The programme will also feature a revival of Australian Amber Haines’ critically acclaimed 2016 work, Incant. Haines’ piece delves into the depths of human emotion, inviting viewers on a mesmerising and intriguing journey.
Lauded New Zealand choreographer Ross McCormack will be creating a new work alongside commissions from NZSD graduates, Felix Sampson and Kit Reilly, highlighting the School’s commitment to expanding the boundaries of contemporary dance.
Performance Season at Southward Theatre and Te Whaea: National Dance & Drama Centre 16 Nov – 2 Dec 2023. Tickets from $19 – $42 are available at www.nzschoolofdance.ac.nz
‘Find the fun and enjoyment in what you do; It’s important to work out why you dance, what makes you tick’
Sharni Spencer and Pedro Cassiano for the New Zealand School of Dance – 2007. Photo credit: Stephen A’Court.
NZSD graduate, Sharni Spencer, was born in Lismore NSW and grew up in Tamworth and Newcastle. She began dance classes at three years old and studied at Sally Kefts School of Dance and Marie Walton Mahon Dance Academy before joining the New Zealand School of Dance. Sharni joined The Australian Ballet at the beginning of 2008 and was promoted to Coryphée in 2012. She was the recipient of the Khitercs Hirai Foundation Scholarship in 2012, and used it to spend three months rehearsing and performing Giselle with Dutch National Ballet. She was promoted to Soloist in 2017, to Senior Artist in 2020, and then to Principal Artist in 2022.
What’s your highlight from your time at the New Zealand School of Dance?
I have to say picking a highlight is hard! I have such fond memories of the 2 years I spent at NZSD. I really appreciated the positive and supportive environment. Once you join a professional company, you realise the luxury of time you had at school to work on things! It’s such a huge time of growth, and so important to be able to experiment, fail and discover. It was also a really special time to bond with my year group. You are on a real journey of ups and downs together; for most of us, we were away from home and learning how to cook and care for ourselves, alongside all the dancing.
A particularly memorable highlight for me was performing Romeo and Juliet Balcony Pas de Deux from Sir Kenneth MacMillan’s Romeo and Juliet, with former NZSD graduate, dancer and now choreographer Craig Davidson.
Why did you audition for NZSD?
I auditioned to join NZSD because my dance teacher, Marie Walton Mahon, said this was a great school. I had recently returned from overseas after completing a term at Elmhurst School for Dance in Birmingham. It wasn’t the right fit for me at the time, and I left feeling a bit unsure of what direction to take and whether I should continue with dancing at all.
I took a class back at my dance school in Australia and realised how much I loved dancing and made the decision to continue with dancing. Marie suggested New Zealand School of Dance might be a better fit, so I packed my bags and headed over to audition last minute with the 1st Yrs who were beginning in 2006. It fortunately, turned out that after auditioning, I could start immediately!
What inspires you to dance and move?
Music always inspires me and moves me to dance. I also love the physicality of dancing and the nitty-gritty of the work day in and day out. I love to perform, how it makes me feel and how freeing it can be to get lost in the movement or a story, but it’s the rehearsal process really makes the performance satisfying for me. I also love that there is no end to learning; there are so many aspects to dance that you are constantly inspired.
What have been your highlights since graduating from NZSD?
A recent highlight was my promotion to Principal Artist with The Australian Ballet. The promotion to Principal Artist is an onstage tradition at the Australian Ballet. I was dancing Columbine alongside guest artist Daniil Simkin (Principal Artist with the American Ballet Theatre and Berlin Staatsballett) the night of my promotion in Alexei Ratmansky’s production of Harlequinade. It was such a wonderful experience to share the stage with Daniil, and when Artistic Director David Hallberg came out and announced my promotion at the final curtain call, I couldn’t believe it.
What advice would you give to aspiring dancers?
To work hard at what you do but also stay open and curious; there is always an opportunity to learn something in any situation. Find the fun and enjoyment in what you do; It’s important to work out why you dance, what makes you tick, and what really inspires and motivates you intrinsically because there will inevitably be ups and downs throughout your career, and to have those things behind you gives you resilience and grit through the highs and lows.
“…enjoy the process and have fun with dance. Aspire for greatness and strive towards your goals with determination and passion.” – Robert Mills
Robert Mills 2023. Photography by Ron Fung. Design by Kirryn O’Neil
Robert is a Distinguished Graduate of the New Zealand School of Dance and holds the Graduate Diploma of Elite Dance Instruction from The Australian Ballet School. During his career, he danced with the Royal New Zealand Ballet, Singapore Dance Theatre and West Australian Ballet. Robert has performed principal roles including The Nutcracker Prince, the lead dancer in The Rite of Spring, and Mercutio in Romeo and Juliet. Career highlights include dancing in works by inspiring choreographers Jiří Kylián, George Balanchine, Glen Tetley and John Cranko. Recognised as an outstanding member of The Australian Ballet School faculty, we know Robert brings passionate and generous commitment to his teaching.
What’s your highlight from your time at the New Zealand School of Dance?
It would undoubtedly be the family-like environment that envelops you while you’re here as a student. The commitment and dedication needed for the art form bring together people with a like-minded dedication to their goals and dreams, which is incredibly inspiring. Being in the midst of such a community was both enriching and motivating. The tutors, including Garry Trinder, Yuriy Klymenko and Christine Gunn, deserve special mention because they managed to bring out the best in me. The classes were also amazing, giving me the space to focus and work without any distractions. The repertoire was another highlight because the School offered various performance opportunities, the most remarkable being Balanchine, which was an incredible experience for me as a student. Finally, I am thankful that the School encouraged lifelong friendships among its students, which means that even after two decades, my peers and I can still come together with the same spirit and enthusiasm.
What drew you back to the New Zealand School of Dance as a tutor? Was it always part of your plan to return to the School?
After retiring from the stage in 2014, I went through a period of uncertainty where I wasn’t sure what my next step would be. I started exploring different options, including personal training, but it didn’t click with me. Tutoring students pursuing a career in dance was something that I had never done before other than teaching adult dance classes. However, I discovered that I loved it and felt inspired by the students. It felt like a way to give back to the community that I had learnt so much from during my own dance career.
As a freelancer, I spoke to Garry, who directed me towards The Australian Ballet School Teaching Training Programme, where I gained invaluable experience and knowledge from the staff and students. This experience further solidified my desire to become a full-time tutor. Even during the pandemic, I continued to work hard and remained flexible and open to opportunities that came my way.
Eventually, the opportunity to return to the New Zealand School of Dance as a tutor presented itself. It was a rare chance to return to my roots and teach alongside the tutors who had been instrumental in my own dance journey.
For me, this is not only a huge responsibility but also a chance to give back, guide and support a new generation of students, just as my own tutors had inspired me. It’s about passing on the knowledge and experiences that have touched me so deeply and inspiring the students the way I was inspired. It’s a way to give back to a community that has given me so much.
Singapore Dance Theatre (Singapore Ballet) 2009 A MILLION KISSES TO MY SKIN – Choreographed by David Dawson. Dancers: Ginny Gan and Robert Mills. Photography Robin Chee
What is your teaching philosophy and how does it align with the values of the School?
It is focused on bringing out the best in students by inspiring and nurturing them, as well as developing a mindset of growth that will help them thrive in the art form. I believe my role as a dance tutor is to guide and encourage them to push their limits and create a supportive environment as part of the School faculty.
What advice would you give to aspiring dancers?
Follow your passion and remain positive. If you truly love dance and are willing to put in the hard work, then go for it. Allow yourself to imagine what it would be like to achieve your goals, but also be realistic and stay grounded. Life is an adventure and there is so much to explore in the world of dance; it is a global art form that can take you to many exciting places. Remember that success requires consistent effort, dedication and hard work.
I encourage you to never give up and always give your best effort because, at the end of the day, it is your journey and it is up to you. Don’t be afraid to take risks and try new things. Stay curious and always seek to improve your skills and knowledge. Most importantly, enjoy the process and have fun with dance. Aspire for greatness and strive towards your goals with determination and passion.
