Snow White to pirouette into a new telling of a much-loved fairytale

Ballet Theatre Queensland’s reimagined Snow White showcases the budding talent of young dancers from all over South East Queensland.

Dec 09, 2024, updated Dec 09, 2024
Caitlin Volker as  Snow White and 
Sophia Gougoulas as  The Evil Queen in Ballet Theatre Queensland's new version of the ballet Snow White. Photo:  Kate Taylor, Quince and Mulberry Studios.
Caitlin Volker as Snow White and Sophia Gougoulas as The Evil Queen in Ballet Theatre Queensland's new version of the ballet Snow White. Photo: Kate Taylor, Quince and Mulberry Studios.

World premieres of full-length ballets with commissioned scores are rare in Australia, so Ballet Theatre Queensland’s completely new production of Snow White is a remarkable achievement, even before it opens next month.

The scope and scale that the creative team has realised defies the independent youth company’s limited private resources.

More than 170 performers will bring to life the reimagined fairytale featuring choreography by artistic director Clare Morehen, set to original music composed and orchestrated by Dr Lucas D. Lynch, Ballet Theatre Queensland’s executive director and music director.

Prioritising purposeful storytelling and character development over classical ballet conventions, the pair collaborated on a libretto that guided their creative contributions.

Playing QPAC from January 23 to 26, the production will showcase 81 BTQ dancers joined by three guest artists, with the 90-minute score performed live by the 41-piece Cadenza Chamber Players and Birralee Voices’ 48-strong choir under Lynch’s baton.

The production design also boasts top industry talent including Bill Haycock (sets), Rebekah Ellis (who has created 140 costumes comprising 400 pieces), Glenn Hughes (lighting) and Wil Hughes (sound).

“These shows are professional on every level,” says Morehen, a former Queensland Ballet principal. “The shows are brilliant in their own right – we just so happen to work with youth dancers.”

Cast members, aged 8 to 17 (the age ceiling is 22) from dance schools across the region, have already invested more than 30 full days rehearsing.

“I believe in the next generation of artists,” Morehen adds. “You have the chance to coach them and if you give them the opportunity they can achieve brilliant things.”

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As the company approaches its 90th anniversary, Morehen and Lynch are passionate about not only continuing the youth company’s invaluable contribution to the development of future artists – evidenced in its huge list of professional alumni – but also expanding it.

Two of those are guest artists Jayden Grogen (The King/Snow White’s father) and Jordan Lennon (Snow White’s love interest, William). Callum Paterson, who’ll play The Huntsman, has just graduated from Queensland Ballet Academy.

In 2023, for the first time in 40 years, BTQ reintroduced live music for its annual performances. This year Morehen added 20 dancers to the ranks selected by audition. The project completes another step in the BTQ directors’ vision to give company members the full gamut of experiences emulating professional life – usually unavailable within student training.

Having a contemporary ballet created for them with original music (rather than adapted traditional choreography and music), then performing that with a live orchestra, is a priceless experience for youngsters.

“I feel privileged that we can pioneer that for BTQ,” Morehen says. “Being created on, as an artist, is one of the most special things that can happen to you. So, I wanted to give the dancers that opportunity, on this massive professional scale.”

BTQ also awards a range of scholarships for elite training opportunities. Next year, for the first time, one dancer will experience the summer intensive program of the Royal Ballet School in London, Morehen’s alma mater.

However, while BTQ has managed to survive and succeed for 87 years, Morehen and Lynch recognise that a break-even model is no longer viable. The live-music component alone adds $50,000 to production costs, Lynch reveals. Sustaining growth long-term – especially beyond their time – will require additional financial support through government funding and philanthropy that recognises the company’s unique role.

“Heading into the 2032 Brisbane Olympics, Queensland and Australia will be wanting to showcase the best talent in sport and art,” Morehen says. “The dancers that we’re working with now are going to be those artists when the world is watching – the experience that they’re getting now will mean they’re ready in 2032, so what we’re doing is a really important thing.”

Ballet Theatre Queensland presents Snow White, Concert Hall, QPAC, January 23-26. 

qpac.com.au

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