The right step

Press, 11 February 1981, Page 10

The right step

By

LEONE STEWART

"If you want to expand your experience and knowledge in ballet you can’t stay here. Not enough is happening.” Young Christchurch dancer, Fiona Tonkin, home for a family holiday after an exciting first year in the corps de ballet of the Australian Ballet, is "very happy” with her decision to move across the Tasman. "Ballet is so much more exciting there,” she explains. "Last year we did 13 ballets.” The programme began with “Raymonda,” in which Fiona stepped from her under-study role on to the stage in Sydney. Another dancer’s bad luck gave her a break. However, sl.e is very circumspect about - the discipline of a big, hard-working company. "You have to earn your advancement. We work from the corps de ballet up. Some girls seem to get by on luck, but I need lots of hard work, too.” The company tours major Australian centres. The year is divided between home-base in Melbourne and Sydney, and shorter seasons touring the large cities. Often when performances are underway at night in Melbourne the days will be spent learning new works. With a programme like last year’s, which included such favourites as “Pineapple Poll,” “Graduation Ball.” “Anna Karenina,” and "Cinderella,” allied with some very adventurous, contemporary ' works, it can be a breath-taking schedule. Work ■ starts at 10 a.m. and goes on six days a week. Sunday, the dancers are off-duty: "It’s amazing how much we can cram into one day”’

When she was with the New Zealand ballet Fiona Tonkin found the constant travel tiring. How does the Australian timetable compare? “It’s not nearly go bad. We don’t live out of suitcases all the time. The seasons in cities are much longer than here.” In Mebourne, Fiona shares a motel with several girls from the company. They find it cheaper than having to p-y rent while they are away. Yet Fiona has her sights set on eventaully owning her own place. “I’m saving for a little terrace house,” she con- . fides, with a smile. When pany is away and the dancers exchange accommodation. Fiona lived in a three-storey, restored terthe ballet company is in Sydney, - the Opera Comrace last year. , . Although the company is richly endowed by New' Zealand stadards, it seems, art does not pay its Australian practitioners much better than ; their; Kiwi cousins. "It’s' not easy to save ■ when you 1 get 1 paid .less than a packer in a sweet

factory,” she says, iyRight now. Fiona likes Sydney better than Melbourne. There is more time to shop and sight-see when they are there, and the Sydney Opera House back-stage facilities are superb. Melbourne’s Palais Theatre, in St Kilda, is “cold and draughty” by comparison. Being with the Australian Ballet is giving her a chance to see overseas choreographers and principal dancers at work. She regards the experience as invaluable. “It gives you a fresh insight. This is what New Zealand needs. There is plenty of talent here, but you need contact with the international ballet world. So few choreographers come here.” Fiona Tonkin is certainly having a taste of inter-

national travel. The company’s tour of China on a cultural exchange last May was the highlight of a very full year. Half-Chi-nese herself, Fiona discovered her Oriental cultural roots in a country much appreciative of the company’s presentations of “Don Quixote,” in both Peking and Shanghai. This year the dancers will go to Mexico, Rio de Janiero, and Los Angeles. Negotiations are underway for -New York appeal? - ances. ' Fiona will join the tour mid-way through, with, the ’ rest of the dancers who are completing a .triple-bill . production in Australia; ’ , Has the company met her expectations? “Oh certainly, though I expected

it to be much tougher, physically. And being in the corps de ballet, and under-studying, can be depressing — just watching all those very good dancers. That’s the hardest part for me. "It is more fomal than

the New Zealand Ballet, being a much bigger company. You are ranked according to your position. Corps de ballet dancers always take back position on the barre ...” Learning to work within a hierarchy has required acquiring patience. Fiona is not complaining, though she seems a more reserved young woman than* the lively, girl-pext-door who left Christchurch a year ago. However*. the deter-, ruination that made her work when dther yourigsters — -including her four ■•brothers'" and a sister — were playing is still much in evidence. • \ in a company of 55 ambitious dancers and only a few principals, is there much of the bitchiness-for which some overseas cbri'i-

panies, have a reputation? “No,” she replies, adamantly. “I was really surprised th’?, everyone v-.is so helpfu: and friendly They a?, ma le me feel u elcome as soon as I arrived.” ' During Mar. i and April, Fiona had a small solo r-’ie in .“Gra’.ration Bail” It was tech-j ctlly demand.hg. and none ot the corps w; nted to do it Flora volunteered, she was not tetisfied with he- performance. but cd i ec.es it came right towards the end of tre season. “That first right i was so nervous. When I came •;> my dressr g table was, full, of gifts fnd. carc.i rem the co-’.pany. Even ;F.e princiod.s wished me veil. That maxes life so, .t> ch easier She has had her share of lucky breaks. Throughcut “Anna Ka -erina” she wished for a cbance to really-, dance. Then on the last-night came quite unexpectedly her chance to dance the solo role she had under-studied. . ClYo San Goh, a Singererean ch a . " -grapker 'now. well established in > merica, ehust her as soloist for the second cast of his "Variacians,” a bal-.

let for eight couples. When one of the dancers was injured she was promoted to the first cast. Her perfomance is now on video because the work had to be learnt and rehearsed in three exhausting weeks and filmed for reference this year. The company’s 1981 programme is once again challenging. It includes two triple-bill programmes, one containing "Carmen,” with two modern ballets, touring “The Three. Musketeers,” and later in the year, “Swan Lake,” with two Russian principal dancers. What is the most significant difference she notes between ballet in New Zealand and Australia — apart from the “stunning” abundance of very good, young, male dancers? “Professionalism,” she replies. “The compar.v is very versatile, technically and in presentation. All -the dancers have superb personalities on stage. Because htey have the influence of overseas teachers and dancers everyone has.; a chance to taste something new. It’s a great stimulus that keeps .the, company evolving.