David McAllister

Tuesday 19th July 2005
The Freemasons' Arms, London W.C.2.

Michael Broderick introduced David McAllister, Artistic Director of The Australian Ballet, and welcomed him to The London Ballet Circle. We were also delighted to welcome Gailene Stock, Director of the Royal Ballet School. The interviewer was Robin Key. Robin began by speaking of the sudden death of Ross Stretton, late Artistic Director of Australian Ballet and also of the Royal Ballet, and extended our sympathy on behalf of the London Ballet Circle. David McAllister then spoke about the very moving memorial performance by Australian Ballet of works brought into the company by Ross. Michael Broderick recalled that Ross Stretton had spent a well attended and happy evening with the LBC during his directorship of the Royal Ballet.

Robin asked David McAllister why he wanted to do another version of "Swan Lake". David said that when Australian Ballet last came to London in 1992 their repertoire was not specifically Australian, so this time he wanted to do something specially created for Australian Ballet on their 40th anniversary. Over the years they have danced more traditional productions, which he described briefly. Peggy van Praagh had picked out Graeme Murphy as a talented Australian dancer/choreographer, so David commissioned him to produce "Swan Lake" and found him most enthusiastic about the project. The ballet was a great success in Melbourne and on tour in Australia. David explained how this version of the great classic captured Australian audiences. It is classical but new, so everyone could relate to the contemporary story. Regarding press reports, he stressed that the plot is not meant to be about Prince Charles and Lady Diana, but about any three people in a difficult emotional situation which the audience could relate to. He also felt that the traditional version with Princes and Princesses in a European setting felt like pretending or "dressing up" for Australian dancers, whereas this version was specially created to suit the Australian way of moving and it felt right for them and the choreography makes them look good. Graeme Murphy has the gift of creating works about people's lives, and during his dancing career David was lucky enough to be in these ballets, along with his hero Kelvin Coe. He praised Graeme Murphy's way of working with the company and recreating the story for contemporary Australians. This was David's first big production as Artistic Director and although he was apprehensive, he felt the production was quite special, and very different from the Royal Ballet's "Swan Lake", recently seen in Australia.

The company enjoyed their sold out standing ovation visit to Cardiff, and look forward to the Coliseum. According to custom, on their arrival in the UK, the Australian High Commissioner welcomed the company with a party attended by the Prime Minister of Australia. David described the logistics of transporting such a big, complicated production, which involved many huge trucks, so that it is the only production they were able to transport for such a short visit.

David (who is from Perth) then spoke about his childhood love of dance, leading to RAD exams, and entrance to the Australian Ballet School, and then into the company. He joined the company when Maina Gielgud took over and she gave him many chances. He also competed in competitions while starting in the company and was invited to dance with the Bolshoi in "Don Quixote" with his Australian Ballet partner, and their success led to more invitations to the Soviet Union. He praised Maina Gielgud for her development of dance education in Australia and overseas. He was in London with the company on their previous visit and was thrilled to recognise the places on the Monopoly board! He stayed on and danced with BRB and in Europe. Eventually, due to injuries he gradually moved into other work (including promotion, coaching and teaching) with encouragement from Maina After undertaking an arts administration course, and following the departure of Ross Stretton, he began thinking of the future direction of the Company and the job of Artistic Director. He described the interview process through the various stages to find the new Artistic Director, and how he felt when he was offered the job, in between doing classes and rehearsals. Eventually, he had to retire from dancing, and his last performance was in "Giselle", and coincidentally his first performance with the company was in this ballet.

David is passionately interested in Australian Ballet and has had the good fortune to work with all its Artistic Directors, and owes his career to the company. He spoke of the great dancers and directors who influenced him and the wonderful pioneering spirit of the company, which he wishes to preserve. He believes that protecting the ballet heritage is very important but also that the future heritage needs to be created. Technique continues to be developed which will inspire choreographers. This production of "Swan Lake" has contemporary relevance, and he has ideas for producing a purely classical "Swan Lake" later. The young dancers of today need inspiration, especially in Australia with its short history. They are not tied to European tradition as ballet in Australia has not had a long historic background. David sees himself as the conduit for the dancers' careers and he will do this through planning the repertoire to encourage their development and in uniting all the aspects of the organisation. However, the dancers are the most important part of the company, though still part of a whole. He loves his job, which has taken over his life, and wouldn't want to do anything else.

In reply to a question on Australian heritage ballets, he said the ballets are there and extracts have been shown and he wants to show them in their entirety for the Australian Ballet's 50th anniversary. Australia has been influenced by the Ballet Russe visits which became part of their ballet tradition. He hopes to record the impact of these visitors on Australian culture and has plans for a Fokine programme, followed by Massine, Balanchine etc. He is thinking about the creation of ballets based on Ballet Russe influences.

David was thanked for a fascinating evening and given our best wishes for a successful first night at the London Coliseum, following presentation of a gift from LBC members .