The Australian Ballet navigated a dynamic year in 2024, marked by significant artistic achievements, a temporary change of venue in Melbourne, and a continued commitment to reaching audiences across Australia through performance, education, and digital initiatives. The recently released 2024 Annual Report details a year of both challenges and triumphs, underscoring the company's resilience and forward-looking vision under the leadership of Artistic Director David Hallberg.
"The year was one of artistic ambition, change, and crowning achievement for our company on the international stage," states Artistic Director David Hallberg in his report. He adds, "We toured widely, moved boldly and danced proudly in world premieres and beloved classics, doing it all with our signature Australian warmth". Hallberg also reflected on the significance of the world premiere of Oscar, noting, "I am incredibly proud that we are bringing queer love stories to an art form which has, for so long, focused on stories of only one type of love".
Chair Kenneth Watkins acknowledges the impact of the Melbourne Arts Precinct Transformation project and the closure of the State Theatre. "This level of disruption often creates the catalyst for change, and fresh thinking, and so it has proved to be for us," he writes. Despite the challenges, Watkins highlights the company's positive response: "It was inspiring to see the positive and determined approach that The Australian Ballet's entire team took: not only did they meet the challenge with gusto; they embraced the change". He also underscores the critical role of philanthropy, stating, "Put another way, without philanthropy, The Australian Ballet would be in a dire financial position". Watkins expresses immense gratitude "to those who give to support the company’s survival, and our ambition".
A Season of Diverse Productions
The 2024 season showcased a blend of beloved classics and bold new commissions. The year began with Christopher Wheeldon's spectacular Alice's Adventures in Wonderland, marking the company's final performances at Melbourne's State Theatre before its renovation. This was followed by Johan Inger's contemporary Carmen at the Sydney Opera House, a work praised for its gritty realism and athletic choreography. A highlight of the year was the double bill of Harald Lander's classical Études and the world premiere of Resident Choreographer Stephanie Lake's large-scale Circle Electric. George Balanchine's sparkling Jewels returned for a season in Adelaide, and Christopher Wheeldon's groundbreaking new full-length ballet, Oscar, based on the life of Oscar Wilde, premiered to critical acclaim in both Melbourne and Sydney. The year concluded with the cherished Christmas tradition of Sir Peter Wright's The Nutcracker in Sydney.
In total, The Australian Ballet presented 135 mainstage performances to over 177,000 paid attendees in Melbourne, Sydney, and Adelaide.
Despite the temporary relocation of its Melbourne mainstage season, The Australian Ballet remained dedicated to connecting with audiences beyond the major metropolitan centres. The Australian Ballet On Tour visited regional areas across South Australia, Victoria, and New South Wales, presenting a mixed repertoire that included a company premiere of Balanchine's Allegro Brilliante. This tour was supported by initiatives like the Telstra Let's Dance Program, offering free dance classes to regional students.
The company's Education and Outreach program had a significant impact, engaging over 26,000 students and participants through workshops and performances across six states and territories. Notably, 89% of participating teachers reported that they would not have had access to a similar program otherwise. New portable productions like Wonderland and the First Nations-led From the Gadhu were specifically designed to be accessible to school and community audiences. The program also included professional development for teachers and creative residencies in regional and remote areas.
Storytime Ballet continued its tradition of introducing young audiences to ballet with productions of Cinderella and The Sleeping Beauty, reaching over 24,000 paid attendees.
Sector Leadership and Dancer Wellbeing
The Australian Ballet actively contributed to the broader dance sector through initiatives like the Bodytorque program, which provided a platform for six emerging choreographers to present new works mentored by Resident Choreographer Stephanie Lake. The company's studios also hosted creative developments for independent artists.
Dancer health and wellbeing remained a priority, with the Artistic Health team collaborating on pioneering research in injury prevention and management. World-leading guidelines for eating disorder prevention were developed and shared internationally, and studies were conducted on the physical demands of productions like Swan Lake and on foot health in dancers.
Digital Reach and Partnerships
The Australian Ballet expanded its digital presence in 2024, with its website receiving over 6.3 million page views and social media following surpassing 1.1 million. Livestreams of Oscar and The Nutcracker from the Sydney Opera House reached audiences globally through Ballet TV and in cinemas, making ballet more accessible. The broadcast of the 2023 production of Don Quixote on ABC TV and iView also reached a significant audience.
Partnerships played a crucial role in the company's activities. The long-standing principal partnership with Telstra celebrated 40 years and supported initiatives like the Telstra Ballet Ballot, offering affordable tickets and attracting new audiences. Qantas continued as the Lead Partner, supporting the company's extensive touring schedule. New partnerships, such as with DECJUBA Foundation for education and outreach and Arcare for livestreaming performances to aged care residents, further extended the company's reach.
Financials and Looking Ahead
The annual report highlighted the financial impact of the move to the Regent Theatre and reduced performance opportunities in Melbourne, resulting in a statutory loss of $9.1 million compared to a loss of $0.2 million in the previous year (which included one-off government funding). Despite these challenges, philanthropic support remained strong, contributing 21% of the company's operating budget. The Innovation Years Campaign and The David Hallberg Fund for Artistic Aspiration were key fundraising efforts supporting new works and operational agility during this period of transition.
As The Australian Ballet looks ahead to 2025 and its continued temporary residency at the Regent Theatre, the focus remains on artistic excellence, audience engagement, and navigating the financial landscape with the support of its donors and partners. The company's commitment to creating great ballet with an Australian character for all Australians, while striving for international recognition, continues to drive its ambitious vision despite these challenges.