Beau Dean Riley Smith, Stories to Tell

For our bonus episode this season, we’re catching up with the Australian Ballet’s Artistic Director David Hallberg. Last season, David and I spoke about his life growing up in South Dakota, being bullied, training at the Paris Opera, becoming principal at American Ballet Theatre, and being the first American to be invited to dance with the Bolshoi Ballet in Russia. We talked about climbing back from his epic injury, his head space at that time, before taking over the Artistic Directorship of the Australian Ballet right in the middle of Covid. A year later we talk about what it's been like to be artistic director now that theatres are open and audiences are back, about what kind of as dancers he selects for the company, how he decides who will be promoted, the Australian Ballet's 60th anniversary, and life in Australia.If you’d like to read more about David’s life, find our full conversation in the show notes, or you can read his autobiography called A Body of Work: Dancing to the Edge and Back. For Australian Ballet updates you can find them on Instagram at @ausballet and to continue to follow David’s adventures, you’ll find him on Instagram at @davidhallbergofficialDavid and I recorded remotely, with David dialling in from Melbourne, the land of the Kulin people, with recording and production on the land of the Awabakal and Gadigal people of the Eora Nation, to all of whom to which we pay our greatest respects. Production dream team ✨Hosted by @byclaudialawsonProduced by @fjordreviewAdditional Production @clinttopicSound & Editing @outputmediaStudios @brightsidesydney@sawtoothstudios

30 years ago this year, a small independent film, by a first time director, and an unknown cast, hit our screens. That film was Strictly Ballroom. And so, for our final episode of Season 2 of Talking Pointes, I’m speaking with the legendary Paul Mercurio. Paul was born in Swan Hill in regional Victoria and started dancing after he saw his elder sister in a local dance class. With dad off the scene early, the family moved to Perth where Paul continued to train at the John Curtin Senior High School as it was known then, before, at 18, being accepted in the Australian Ballet School in Melbourne. But in a rebel move, he joined Sydney Dance Company before graduating, it was the golden era of Graeme Murphy’s directorship. It was a position he held for ten years, as a principal dancer, muse and choreographer. During his later years Sydney Dance Company, Paul received a call from an unknown director called Baz Lurhmann who asked him to help choreograph on a dance film. It was a call that changed his life. In this wonderfully honest interview, Paul talks about his early years in dance, his “angry man” years as he calls them—where he wrote poetry, smoked weed, and rode motorbikes. We also talk about how Strictly Ballroom came to be, the behind the scene, and how the film changed his life. Finally we talk new careers, raising a family, and his plans for making a more inclusive community in his local area.Paul and I recorded remotely, with Paul dialling in from Melbourne on the land of the Kulin people. Paul’s episode was produced in Sydney on the land of the Gadigal People of the Eora Nation, to whom we pay our greatest respects. Production dream team ✨Hosted by @byclaudialawsonProduced by @fjordreviewAdditional Production @clinttopicSound & Editing @outputmediaStudios @brightsidesydney@sawtoothstudios

Today I’m speaking with the divine Jenna Roberts. Jenna grew up in Newcastle and started dancing only because a local ballet studio set up shop on the same street as her family home.  But as fortune would have it, that local studio happened to be the Marie Walton Mahon Dance Academy, as it was known back then. And so Jenna, and little sister Callie, started dancing. For any outsider, it was clear the Robert’s sisters were born to dance—with high arches and long, lean legs, genetics almost pre-determined their careers. By the time Jenna was a teen, she was winning scholarships and accolades before, at 16, she was accepted into the Royal Ballet School in London.In this courageous and extraordinary conversation, Jenna reveals it’s not always as it seems—we talk about tough years at Royal Ballet School, about crippling home sickness, and then rising to become a principal artist with the Royal Birmingham Ballet. But more than that, Jenna also speaks about the pressures that continue to exist on body image in the dance world—and with that her own experience taking laxatives, the passing of her mum, and her decision to retire at the peak of her career on her own terms. Finally Jenna speaks about her years of infertility and IVF, before making a wonderful and unexpected life decision with her husband, Joe.Jenna and her husband Joe Caley have just relocated from London, and are now based in Melbourne—where Joe has joined the Australian Ballet as their newest principal artist. Jenna continues to coach and teach the rising starts of dance, all while running her own Pilates studio tailored for dancers and athletes. To continue follow all of Jenna’s adventures, you can find her on Instagram at @Jenna_Caley_PilatesJenna and I recorded remotely, with Jenna dialling in from Melbourne on the land of the Kulin people. Jenna’s episode was produced in Sydney on the land of the Gadigal People of the Eora Nation, to whom we pay our greatest respects. Production dream team ✨Hosted by @byclaudialawsonProduced by @fjordreviewAdditional Production @clinttopicSound & Editing @outputmediaStudios @brightsidesydney@sawtoothstudios

Today I’m speaking with Beau Dean Riley Smith. Beau was born on Wiradjuri Country in Dubbo, Western NSW. But as a little kid the family moved to Culburra on the NSW South Coast where Beau spent his childhood surrounded by siblings, love and chaos while growing up at the beach. Beau didn’t learn to dance as a kid, instead he studied drama in high school, before being accepted into the performance program at WAPPA—the Western Australian Academy of Performing Arts in Perth. It was a transformative year in which Beau’s world exploded, and led to Beau auditioning for drama programs across the country, including NIDA—but Beau didn’t get in, and so, in a surprise move, and with no dance experience, Beau auditioned for NAISDA—and was accepted. In this extraordinary conversation, Beau reveals his journey to joining Bangarra, his struggles with body image and weight, and his difficulties accepting the Helpmann Award for Best Male Dancer which coincided with the death of his sister. We also talk about the gravity of performing on Country, the pride and pressure that comes with that, and, in an unexpected announcement, Beau reveals that after nearly a decade with Bangarra he plans to leave the Company and reveals who he’s signed with next.Beau continues to perform with Bangarra, but after more than a decade will leave the Company at the end of this year to join the Sydney Theatre Company. For Bangarra tour dates and to see Beau’s final performances head to bangarra.com.au, and for Sydney Theatre Company tickets it's sydneytheatre.com.au. And to continue to follow all of Beau’s adventures, you’ll find him on Insta at @beaudrsmith.Beau and I met and recorded in Sydney on the land of the Gadigal People of the Eora Nation, to whom we pay our greatest respects. Production dream team ✨Hosted by @byclaudialawsonProduced by @fjordreviewAdditional Production @clinttopicSound & Editing @outputmediaStudios @brightsidesydney@sawtoothstudios

Today I’m speaking with Mary Li, ballet mistress and principal répétiteur at the Queensland Ballet. Mary's story to the stage is an unlikely one—one of eight children, Mary grew up in a small town in Central Queensland called Rockhampton. She was the first person in her family to try ballet, but by the age of 16—the day after completing her Solo Seal exam—she flew to London after being accepted into Royal Ballet School. Her star continued to rise, on graduation Mary was accepted into London Festival Ballet, now the English National Ballet—and was made principal within four years. But it was a chance move to Houston Ballet in the United States that saw the course of her life change again—when she crossed paths with another principal dancer, Li Cunxin—they would go on to marry, and dance together all over the globe. In this wonderfully brave conversation, Mary opens up about her career, meeting her husband and learning of his life, and their decision to have children. But Mary also talks about the devastating decision to leave her career after her eldest child was found to be hearing impaired, the grief she suffered knowing her child would never hear music, reuniting with the stage at the Queensland Ballet, and now choosing to learn AUSLAN with her eldest daughter Sophie.Mary continues to train and teach the principal artists of Queensland Ballet, all the while juggling life with Li and their three grown up children, Sophie, Tom and Bridie. Mary continues to learn AUSLAN, and her book Mary’s Last Dance is available on Audible and in all good bookshops. If you'd like to listen to Li's conversation with me, please scroll down to Episode 5 of Talking Pointes, and we'll also pop the link in the show notes—and finally, to continue to follow all of Mary’s adventures, you'll find her on Instagram.Mary and I recorded remotely, with Mary dialling in from Brisbane. This episode was produced in Sydney on the land of the Gadigal People of the Eora Nation to whom we pay our greatest respects. Production dream team ✨Hosted by @byclaudialawsonProduced by @fjordreviewAdditional Production @clinttopicSound & Editing @outputmediaStudios @brightsidesydney@sawtoothstudios

Today I am speaking with Steven McRae, Principal Dancer with the Royal Ballet, London. Steven grew up in Western Sydney, in a suburb called Plumpton, 45kms West of Sydney. His Dad was a drag car racer, and no one in the family had ever learnt to dance. But somehow, dance found Steven, And at the age of 7, he asked his Mum and Dad if he could start dance lessons and he enrolled in a local studio around the corner from home. It was a life changing decision. By 17, he had not only won the Genée and the Prix de Lausanne, he was standing alone in London having been accepted into the Royal Ballet School—his heartbroken mother on the plane home. In this beautifully candid conversation, Steven talks about his journey to Principal at the Royal Ballet by the age of 23— and that, it’s not all as it seems; he speaks about early bullying, crippling home sickness, not always fitting in, and devastating injuries.But Steven speaks of more than that; he talks about starting his own family with his wife Elizabeth Harrod—also a dancer at the Royal Ballet, his post retirement plans, and the moment he snapped his Achilles tendon live on stage in front of 2,500 people, and how he climbed back from the impossible, to perform with the Royal Ballet once again.Steven continues to perform as a Principal Artist with the Royal Ballet in London, all the while juggling life with his wife Elizabeth and their 3 children Audrey, Frederick and Rupert. If you’re in London, the Royal Ballet is back on stage, for show times and tickets head to roh.org.uk, and to follow all of Steven’s adventures, you can follow him @StevenMcRae_Steven and I recorded our conversation remotely, with Steven dialling in from London, while the podcast recorded on the Gadigal People of the Eora Nation, to whom we pay our greatest respects.Production dream team ✨Hosted by @byclaudialawsonProduced by @fjordreviewAdditional Production @clinttopicSound & Editing @outputmediaStudios @brightsidesydney@sawtoothstudios Production dream team ✨Hosted by @byclaudialawsonProduced by @fjordreviewAdditional Production @clinttopicSound & Editing @outputmediaStudios @brightsidesydney@sawtoothstudios

Today I am speaking with the Artistic Director of the Tanya Pearson Academy, Lucinda Dunn. Lucinda started her life in dance destined for London’s West End - where her Mum had been a performer, but a chance meeting with a ballet teacher named Tanya Pearson saw a change of direction, and at 15 she flew to Tokyo to compete in the Prix de Lausanne - and Lucinda’s life changed. In our conversation Lucinda shares her life story - how she joined the Royal Ballet School, broke her back, before being offered a contract with the Australian Ballet  – a partnership which lasted nearly 23 years and saw Lucinda become their longest serving ballerina. Now a Mum to two girls and Artistic Director of Tanya Pearson Academy, Lucinda speaks about the juggles of a 20 plus year career in dance, and what she believes young students need to make it in the world of ballet.Lucinda continues to work and develop rising stars at the Artistic Director of the Tanya Pearson Academy, while also working with and training the dancers of the Australian Ballet and other performers arriving in Sydney to perform. To continue to follow all of Lucinda’s adventures, you can follow the Tanya Pearson Academy on Insta at @Tanya_Pearson_Academy or Lucinda’s personal account at @lucinda_dunn_ Production dream team ✨Hosted by @byclaudialawsonProduced by @fjordreviewAdditional Production @clinttopicSound & Editing @outputmediaStudios @brightsidesydney@sawtoothstudios

Today I am speaking with the divine Dana Stephensen. Dana grew up in Brisbane learning tap, jazz and singing, and never dreamed of being a ballerina. But ballet had a way of finding her. And strangely enough, it was a rejection letter from the Australian Ballet School and the disappointment that followed that awakened her passion and changed the trajectory of her life. In this beautifully courageous and candid interview, Dana speaks about her career with the Australian Ballet, managing her thyroid condition and the affect that had on her body image, and being promoted to senior artist after becoming a mum. But more than that, Dana opens up about the birth of her twin girls, navigating the loneliness of motherhood in a pandemic, the pressures of parenting with a public figure, and wondrously re-emerging and returning to the stage.Dana continues to perform as a senior artist with the Australian Ballet, all the while juggling life with her son Jasper, her fiancé Lachlan Gillespie, and their twin girls Lulu and Lottie. To continue to follow all of Dana’s adventures, you can find her on Instagram @dana_stephensenFor support for peri and postpartum depression in Australia, you can find support through the Gidget foundation or PANDA’s support line, their details are in the show notes, or for further aboard, please contact your local services.Dana and I recorded remotely, with Dana dialling in from Sydney on the land of the Gadigal People of the Eora Nation, to which we pay our greatest respects. Production dream team ✨Hosted by @byclaudialawsonProduced by @fjordreviewAdditional Production @clinttopicSound & Editing @outputmediaStudios @brightsidesydney@sawtoothstudios Production dream team ✨Hosted by @byclaudialawsonProduced by @fjordreviewAdditional Production @clinttopicSound & Editing @outputmediaStudios @brightsidesydney@sawtoothstudios

Today I am speaking with the divine Deborah Brown. Deborah is a descendant of the Wakaid Clan of Badu Island, the Meriam people of Murray Island, and also has Scottish heritage. Deborah grew up in Brisbane, learning jazz, ballet and tap at her local dance school, while also dancing around the family home learning cultural dance. It was an eye opener to a world she never dreamt could be her career. But after finishing school, Deborah moved to Sydney, and while working as an usher at the Lyric Theatre she auditioned for Bangarra Dance Theatre and was accepted. It was a love affair that would last 15 years. Deborah was not only a dancer in the company, but as a principal muse, performing in 16 original works that travelled to 14 countries across the globe. She also turned her hand to choreography, creating works for the company and mentoring young dancers.In this beautiful conversation, Deborah talks about her early life growing up in Brisbane, auditioning for Bangarra, the first time she met Steven Page, and the 15 years she spent with the Company. But Deborah talks about more than that, about the importance of culture, the pressure and obligations that come with that, and how she ultimately made the decision to find life after Bangarra as both a choreographer and film director.Deborah continues to work with companies and dancers choreographing and directing projects all over Australia. She most recently worked with Bangarra to bring Terrain back to the Sydney Opera House stage 10 years after it debuted. To work with Deborah or to follow all of her adventures, you can find her on Instagram @abrowndeborahDeborah and I recorded remotely, with Deborah dialing in from Queensland on the land of the Gimuy people, to whom we pay our greatest respects. With production on the land of the Gadigal People of the Eora Nation. Production dream team ✨Hosted by @byclaudialawsonProduced by @fjordreviewAdditional Production @clinttopicSound & Editing @outputmediaStudios @brightsidesydney@sawtoothstudios Production dream team ✨Hosted by @byclaudialawsonProduced by @fjordreviewAdditional Production @clinttopicSound & Editing @outputmediaStudios @brightsidesydney@sawtoothstudios

Today I am speaking with the Artistic Director of Sydney Dance Company, Rafael  Bonachela. Rafael grew up in the small town of La Garriga near Barcelona in Spain, the eldest of four brothers. With no dance school in the town, the young Rafael would instead create dances for himself and his classmates, before at 15, being allowed to take the train to Barcelona to take his first dance class. It was a pivotal moment - both a star and a passion was born. By 17 he was offered a professional contract and was travelling Europe as a contemporary dancer. But rather than continue on that trajectory, Rafael wanted to hone his craft, and decided to return to the studio to train, he moved to London and trained with London Studio Centre. From here, Rafael’s world exploded - with dance, with love, and with creating movement—which now had a name, choreography. In this beautifully intimate and joyful interview, Rafael talks about his early years in Spain, bullying, coming out in London just as AIDS had arrived on the scene, losing hair, finding love, life and choreography and living out his dreams. But more than that, Rafael talks about how he came to accept the position of Artistic Director with Sydney Dance Company, what he looks for in selecting dancers and how he has turned Sydney Dance Company into a powerhouse of contemporary dance in Australia, recognised across the globe.Rafael continues to lead the Sydney Dance Company. The Company is now back on the stage and touring "Impermanence," the work Rafael created during COVID. For tour dates and to buy tickets, head to sydneydancecompany.com, or you can find Sydney Dance Company on Instagram @sydneydanceco, and to follow all of Rafael’s adventures, you can follow him @rafaelbonachela.Rafael and I recorded our conversation in Sydney on the land of the Gadigal People of the Eora Nation, to whom we pay our greatest respects.Production dream team ✨Hosted by @byclaudialawsonProduced by @fjordreviewAdditional Production @clinttopicSound & Editing @outputmediaStudios @brightsidesydney@sawtoothstudios Production dream team ✨Hosted by @byclaudialawsonProduced by @fjordreviewAdditional Production @clinttopicSound & Editing @outputmediaStudios @brightsidesydney@sawtoothstudios