Queensland Ballet has announced the promotion of Joshua Ostermann to First Company Artist, marking an exciting step in the young dancer’s trajectory since joining the company in 2021. The promotion, confirmed on 10 April, should come as no surprise to those who have seen him dance. It's indicative of a period of steady development, shaped as much by rehearsal room rigour as by the scale of performance now in front of him.
Ostermann describes the moment plainly. “I was checking on the schedule when our Artistic Director, Ivan Gil-Ortega, called me into his office and told me I was being promoted. I was surprised, grateful and excited.”
That sense of momentum is closely tied to the environment around him. “Right now, I’m incredibly grateful to our Artistic Director, Ivan Gil-Ortega and the journey he is taking us on at Queensland Ballet. The impact of Messa da Requiem on the company has been profound, both artistically and emotionally, and we are only at the beginning of his vision.” It places the promotion within a broader company shift, rather than as an isolated milestone.
His influences remain close to home, too. “Equally, my mother has been one of the most significant influences on my career. She was my teacher from the age of six through to sixteen, shaping my foundations during those formative years.” He speaks not only of technique, but of approach. “Having trained under her for so long gave me a strong technical base, but also a deep understanding of discipline and artistry. She has run her school, Newcastle Dance Academy, for over 30 years, and many of her students have gone on to join leading companies.”
That early training sits alongside the imprint of the Academy of Queensland Ballet. “Also, the teachers at the Academy of Queensland Ballet like Paul Boyd, Wim Broeckx and Christian Tatchev, all strong mentors who have left an impression by shaping my technique and my approach to work.”
The repertoire ahead of Josh reflects that layered preparation when he speaks on what he looks forward to. “The current season! It is jam packed with challenges which makes it very exciting.” Ostermann is currently working across a demanding range of works, including Elastic Hearts and a triple bill, alongside Hamlet.
He speaks about the process through its physical demands, noting “Leo really stretches us physically. I feel like every inch of my body is being stretched and taken to its absolute limits, but in a good way.” It is less about endurance for its own sake than about expansion, a sense of capacity being pushed - something Artistic Director Ivan Gil-Ortega has spoken to since taking up the helm of Queensland Ballet.
The season continues into a new production of The Nutcracker, already underway in the studio. “Costume fittings are already underway, so it’s incredibly exciting to witness such a large-scale production begin to take shape.” He is particularly attuned to the process of creation. “It’s rare for us to have a traditional full-length ballet created on us from the ground up. To be part of it from the very beginning, seeing the building blocks and artistic vision come to life is a special experience.”
There is no attempt to downplay the scale of what lies ahead. “It’s a huge season that demands a lot, but that’s exactly what makes it so rewarding.”
Looking further forward, Ostermann’s ambitions remain expansive but clearly defined. “I’d like to build a career defined by versatility.” The roles he names reflect that balance between classical weight and emotional depth, with characters such as Onegin and Lensky in Eugene Onegin standing out. “They are rich roles full of depth, nuance and emotional complexity.” He continues, “These roles combine technical challenges with powerful storytelling, which is something I’m always striving for in my work.”
With a demanding season ahead and new roles opening up, the promotion places Ostermann in a position to take on more, and to be seen doing so.