You studied in your hometown at the University of Auckland. What was your degree and what were your ambitions then?
BMus. After graduation, the only options I saw were teaching or performing. Neither appealed.
You first started accompanying classes at the Philippa Campbell School of Ballet in Auckland. How did that happen and what was your initial impression?
I simply answered an ad. It was a whole new world, a different language. I was terrified!
Did you have any idea to begin with that accompanying would lead to such an international career?
Absolutely none. The first clue came from an amazing, glamorous lady who taught open classes at the school – an ex-Royal Ballet dancer, Dorothea Ashbridge. She once said, “You know, Michael, it’s so much better when you improvise”. I’ve never looked back, and I owe her everything, along with Philippa, who taught me about the quality and dynamics of movement.
After spending some time at the New Zealand School of Dance, you moved to Germany. Why?
I met a German, my life partner and husband. Europe is a Mecca for anyone involved in the arts. My years there were an experience I’ll treasure forever, and I return whenever I can.
Your first company appointment was with the Hamburg Ballet (then the Stuttgart Ballet). Is accompanying for professionals different than for students?
Not really. The relationship is different of course, however, the music should just “work”. The dancers love a recognisable tune, and so I throw one in from time to time – the theme from Family Guy was a huge hit in class a few weeks ago!
What special skills are required of an accompanist?
Versatility – adapting to every circumstance, happily, without notice.
You moved to Sydney in 2006 to take up role with RAD. How did that post come about?
Family circumstances dictated a move. The job was originally advertised in London, and I convinced the RAD that it could just as easily work in Sydney. It was a role long overdue in this part of the world.
Not all teachers have musical training. How do you deal with that – as in interpreting their requirements?
I’ve come into this world, and never expected dance teachers to speak my language. I learnt the language of dance, and fortunately it’s universal – a plié is a plié, a tendu a tendu, everywhere.
What is the hardest aspect of accompanying? Or most frustrating?
Impatience and rudeness – so unnecessary. Also, a common fault, if I can call it that, is the propensity for teachers to snap their fingers over the music throughout an entire class. Why?? It’s so counter-productive to encouraging musicality – if that’s why it’s done.
What sort of things do you observe from where you sit?
Everything. And thank God for that! I’ve learnt so much from listening to the technical and artistic information imparted by teachers, coaches and choreographers.
What is your impression of dancers’ musicality over the years?
It’s an ever-increasing problem. The almost exclusive use of recordings in ballet schools must be a huge contributor, as well as the predictability of students’ – and teachers’ – playlists. Where are the subtleties; the nuances? Busy teachers often have no time to prepare imaginative class music, however, I’m in awe of [WA Ballet's] demi-soloist, Meg Parry, who teaches adult ballet classes at the company with the most amazing repertoire of recordings I’ve ever heard!
You are considered a skilled and inspiring improviser – would you like to elaborate?
George Balanchine famously said, “Dance is the music made visible”. Dorothea’s encouragement taught me that music for ballet class should be the dance made audible – my raison d’être.
In 2014 you were appointed music co-ordinator and company pianist at the West Australian Ballet– a role created especially for you. What duties does this entail in addition to playing for class?
I’m in the studio all day for rehearsals with my iPad, Airturn BT105, and a box of Eclipse mints. I also liaise with our orchestras, conductors and choreographers, prepare scores, orchestral parts and recordings, organise performance rights through our copyright agencies... the job’s huge.
How would you describe your hands?
Busy!!