My First Concert

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Are you thinking of letting your child do their first ballet concert? Here’s everything you need to know about End of Year Concert at Simply Ballet

My First Concert

Tutu’s, tiaras, tights… it must be time for concert!

Being onstage is an exciting and rewarding experience for dance students, and at Simply Ballet we work hard to make it a smooth and enjoyable one.

If this is your first concert, you probably have lots of questions like – what’s involved with participating in a concert? How does it work? What do I need to do to prepare?  What does it cost? Hopefully we can help step you through the process so there are no surprises, and everyone has a great time.

Toddler ballet dancers onstage with older girls helping

What’s involved in participating in the concert?

Students learn their concert dance during their regular class lessons.  There is one extra rehearsal, a week before the concert which is a ‘Dress Rehearsal’.  This is where students collect their costume and practice in it with their hair done to make sure everything fits, nothing moves while they are dancing, and allows students to get accustomed to dancing in a costume as opposed to their regular class uniform.  They also practice interacting with other grades for different parts of the show, entering and exiting the performance space, and how the day will run.

What do I need to do to prepare?

There are a few simple things that will get you on track for a smooth-running concert.  Firstly, we’ll send you our ‘Concert Survival Guide’ to read through.  This document contains everything you need to know about the day, how to prepare, what to expect, and is full of tips and checklists to help you along the way.

You’ll need to get together a few things like basic make-up, hair supplies, make sure tights and shoes are clean, and bring your costume and everything else required on the day. We also send you a practice video around 4 weeks out from the concert, so you can practice at home with your child if you want to.

Where is the Concert held?

Our end of year concert is held at a purpose built theatre, this year the concert will be held at the St. Ignatius Senior School, Athelstone. They have a 300 seat theatre, backstage facilities, cameras, sound system, lights and expert staff to operate a theatre environment.

What happens on the day?

You’ll be given instructions of how to check-in your child at the stage door of the theatre.  On the day, your child will need to participate in a rehearsal on the stage before the performance called a ‘Technical Rehearsal’.  This again, is so there are no surprises.  Students practice with their costume, the stage lights, sets, and other dancers on stage.  We always schedule our littles dancers as close to show time as possible to minimise the time they need to be backstage.

After their rehearsal, our staff will care for them backstage, ensure they have a snack and a drink before the show, and entertain them with games and activities.  We even have a quite room where students who need a break from the excitement can have some quiet and relax.

Once the show starts, your child will watch from backstage on large tv screens until it’s their turn to be in the spotlight.  Teachers assist them backstage and onstage and they get to show off their hard work.  You’ll be in the audience as their biggest supporters and after the show you’ll be able to collect your child from the stage door and go out for a celebration!

What about costume changing, toileting, or if my child gets nervous?

All of our staff have current Working With Children Checks and are governed by Simply Ballet’s Child Safety Policy.  Senior and junior students use different toileting facilities and changerooms, and staff supervise students at all times.  We have a variety of games and activities backstage for different age ranges, as well as our quiet room for breathing space if needed.

Students go onstage with a teacher or older student acting as a helper.  This means if there are any forgetful moments, there’s someone to lend a hand and keep things on track.  We aim to prepare students before hand with what to expect onstage, plus they’ve already had a practice – but if there is any hesitation our staff will help your child decide if they want to go onstage or not.  Sometimes all that’s needed is a smile and a hand to hold and everything is ok.

What about hair and make-up?

You’ll have access to our hair and make-up tutorial videos to practice with at home, but as always – if you are having trouble just send along the required supplies and our staff can sort out what is needed.  Junior students only need very minimal make-up.  This is so their features don’t look washed out onstage under the bright stage lights.  Hair is generally in a high ballet bun, similar to what you would do for a normal class.  We provide headdresses which are returned after the show, and staff will put these on your child backstage.

How much does it cost?

Concert participation is a flat fee depending on the grade, more details will be emailed to you.

If you have any questions about concert, please speak with your class teacher.  We look forward to having you as part of the fun!

History of the Pointe Shoe in 60 seconds

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The desire to float like a Sylph across the stage on the tips of their toes is the dream of most ballet students. But where did these shoes – part ethereal magic, part torture device come from?

Here’s pointe shoe history in 60 seconds!

History of the Pointe Shoe in 60 seconds

The desire to float like a Sylph across the stage on the tips of their toes is the dream of most ballet students. But where did these shoes – part ethereal magic, part torture device come from?

Here’s pointe shoe history in 60 seconds!

1730s: Marie Camargo invents the Ballet Slipper
1790s: Charles Didelot’s ‘Flying Machine’ allows dancers to float across the stage on the tips of their toes
1820s–1830s: Marie Taglioni and the Romantic Ballerinas create the art of pointe work by darning soft ballet shoes to give more support
1870s–1890s: Italian Shoes set the Imperial Standard adding newspaper and flour paste to create the box of a pointe shoe
1910: Anna Pavlova and Salvatore Capezio add leather to stiffen the soles and provide more support
1920s–1980s:The shoe again adapts to abstraction and new choreography introduced by 20thC choreographers providing dancers greater support as technical demands increase
1993: Gaynor Minden launches a shoe inspired by the shock-absorption found in athletic footwear, opening the door for other designers to experiment with modern materials to improve shoes’ durability and fit
2020’s: Racial protests like the BLM movement spur dancewear companies on to produce pointe shoes in a range of shades to match diverse skin tones.

Pointe shoes

Want to know more about ballet classes at Simply Ballet?

Simply Ballet History – The Tutu

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“What is the history of this strange protruding skirt which allegedly gets its name from the French children’s word cucu, meaning “bottom”?” Where did the iconic ballet tutu come from, and how did evolve to what it is now?

Simply Ballet History

The Tutu

“What is the history of this strange protruding skirt which allegedly gets its name from the French children’s word cucu, meaning “bottom”?” Where did the iconic ballet tutu come from, and how did evolve to what it is now?

From Romantic to powder-puff, mid-century to modern the tutu has become an icon of ballet.

The early 19th Century saw the first developments as skirts were shortened and made of lighter materials to match the new ‘Romantic’ period of ballet and show off innovative new footwork.  By the end of the Century, skirts were above the knee as the technical demands on the dancer intensified.

What we generally recognise as the platter or plate tutu came to the fore in the early 20th Century as new materials became available and styles in general fashions changed (roaring 20’s anyone?)

Who thought the tutu could get even shorter? Well, by the mid 20th Century George Balanchine decided the powder-puff style was the way to go and Europe echoed with short, well structured forms that showed off the dancers legs and arms. 

By the time we were entering the 21st Century tutus were being made of anything and everything such as William Forsythe’s The Vertiginous Thrill of Exactitude and Stanton Welch’s Divergence.  Where will we go from here?

Main picture: Carlotta Brianza, the original Princess Aurora in Marius Petipa’s The Sleeping Beauty at the Mariinsky Theater in 1890. Courtesy the Petipa Society.

Simply Ballet History – Adeline Genee

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The dance world’s first Dame – Dame Adeline Genée was not only a success onstage, but also a champion of dance training. As the first President of the Royal Academy of Dance, she left a legacy that has lasted over 100 years.

Simply Ballet History

Dance's First Dame - Adeline Genée

The dance world’s first Dame – Dame Adeline Genée was not only a success onstage, but also a champion of dance training. As the first President of the Royal Academy of Dance, she left a legacy that has lasted over 100 years.

Born in Denmark in 1878, her initial training and performing came from her uncle who had a small touring dance company. After professional success onstage in the Royal Danish Ballet, she danced in Germany, London, and North America.

In 1913, Genée visited Australia, dancing in Sydney and Melbourne in her most famous role of Swanila in Coppelia. In 1916 she returned to tour with JC William’s company at a time when ballet was just gaining traction in the new Land Down Under.

As Genée’s stage career was winding down, her next project was just beginning. After lamenting the state of dance training, a group of influential and knowledgeable former ballerinas came together to form a association designed to lift the quality of ballet teaching. Genée, along with Phyllis Bedells, Lucia Cormani, Edouard Espinosa, Tamara Karsavina formed the Association of Operatic Dancing in 1920, of which Genée was named President. The organisation, which later became the Royal Academy of Dance currently trains dancers and teachers in over 85 countries around the world. Having worked to standardise, codify, and develop training methods, she was named a Dame of the British Empire in 1950. Her retirement from the RAD in 1954 passed the baton to another influential English Ballerina – Margot Fonteyn.

Adeline Genée died in 1970, having made the ballet world a better place – for which we are all grateful.

Simply Ballet History – The Father of Australian Ballet Edward Borovansky

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Sometimes known as the ‘father of Australian Ballet’ It’s often said he started the first Australian ballet company – but that’s not quite true… That was Helen Kirosova.

Edouard, or Edward Borovansky had an enormous influence on the development of ballet in Australia.

Simply Ballet History

The Father of Australian Ballet - Edouard Borovansky

Edouard Borovansky (1902-1959)

Sometimes known as the ‘father of Australian Ballet’ It’s often said he started the first Australian ballet company – but that’s not quite true… That was Helen Kirosova. Edouard, or Edward Borovansky had an enormous influence on the development of ballet in Australia.

Edouward Borovansky and his wife Xenia first came to Australia from Czechoslovakia in 1929 with Anna Pavlova’s touring company. It was a false start though, as they returned to Europe where Edouard eventually joined the Ballets Russe de Monte Carlo. They returned to Australia in 1938 with the Covent Garden Russian Ballet, and the couple decided to stay as war loomed in Europe.

Starting a small school in Melbourne with Eunice Weston and his wife Xenia teaching – within a year they had enough students to start a small ballet company. The company’s local success eventually attracted financial backing from touring company J C Williams whose support meant the now named Borovansky Australian Ballet Company could present established repertoire, and new choreography by Borovansky himself.

As the company grew, it attracted more Australian dancers. Local stars such as Martin Rubenstein (eventually an RAD Examiner), Kathleen Gorman (later a renowned teacher), Garth Welch, Marilyn Jones (stars of the later formed Australian Ballet Company) were all part of the company.

In 1948 the company folded due to lack of funds – but Borovansky was not deterred. Reestablishing in 1951, a glorious period followed including an appearance from Margot Fonteyn and Michael Somes in 1957, and a string of uniquely Australian choreographic works from Borovansky himself.

Sadly, in 1959 Borovansky died and the Borovansky Ballet passed into the hands of Dame Peggy vaan Praugh for 3 years until JC Williamson disbanded the company in 1961 – not without good reason though. A grant from the Australian Elizabethan Theatre Trust, designed to lead to the establishment of the Australian Ballet Company was received, and as they say – the rest is history!

Simply Ballet History – The First Swanhilda

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Coppélia (sometimes subtitled The Girl with the Enamel Eyes) is a comic ballet from 1870 originally choreographed by Arthur Saint-Léon to the music of Léo Delibes. The love story follows a couple (Franz and Swanhilda) and a magical toymaker (Dr. Coppélius) trying to bring a doll to life (Coppélia). It eventually became the most performed ballet at the Opera.

Simply Ballet History

The First Swanhilda

Coppélia (sometimes subtitled The Girl with the Enamel Eyes) is a comic ballet from 1870 originally choreographed by Arthur Saint-Léon to the music of Léo Delibes.  The love story follows a couple (Franz and Swanhilda) and a magical toymaker (Dr. Coppélius) trying to bring a doll to life (Coppélia).  It eventually became the most performed ballet at the Opera. 

Coppélia premiered on 25 May 1870 at the Paris Opera, with the 16-year-old Giuseppina Bozzacchi in the principal role of Swanhilda and ballerina Eugénie Fiocre playing the part of Frantz en travesti. Modern-day productions are traditionally derived from the revivals staged by Marius Petipa and Enrico Cechetti for the Imperial Ballet of St. Petersburg in the late 19th century.

Australia first encountered Coppélia in 1913 when Adeline Genée, former President of the Royal Academy of Dance, brought the ballet on tour with the Imperial Russian Ballet.  In 1946, the Borovansky Ballet (precursor to the current Australian Ballet) staged a version, and in 1958 Sir Robert Helpmann returned to Australia with the Royal Ballet and danced the role of Dr. Coppélius.

Shortly after the founding of the Australian Ballet Company in 1962, then director Dame Peggy Van Praagh created the iconic version the is still in the company’s repertoire today.  The full ballet is currently available to view on ABC iView.

Pictured: 16-year-old Giuseppina Bozzacchi, and Dame Peggy Van Praagh as Swanhilda