Dame Lucette Aldous A.C
Former Principal Dancer, The Royal Ballet & The Australian Ballet
New Zealand-born Lucette Aldous trained in Brisbane and Sydney before entering the Royal Ballet School in 1955 on a Royal Academy of Dancing scholarship. In 1957 she began her professional career with Ballet Rambert. Following her time with Rambert she danced with London Festival Ballet and then with the Royal Ballet. During her time in England she danced the lead in many of the traditional classics, such as Giselle, Coppelia and La Sylphide, and appeared in many contemporary ballets including Antony Tudor’s Lilac Garden.
She first worked with Rudolf Nureyev during her time at the Royal Ballet, partnering him in Nutcracker during a European tour. On her return to Australia in 1970 Aldous made her debut with the Australian Ballet as a guest artist, and the following year, 1971, was appointed a resident principal dancer. Her partnership with Nureyev developed at this time when Nureyev asked her to partner him in his production of Don Quixote for the Australian Ballet, which premiered in Adelaide on 28 March 1970. The role of Kitri particularly suited the vivacious, effervescent and technically accomplished Aldous and in 1973 she repeated her stage success as Kitri and as Nureyev’s partner when the Australian Ballet filmed the Nureyev production of Don Quixote.
Another milestone in her career occurred in 1975 when Ronald Hynd created the role of Valencienne on her in his production of The Merry Widow for the Australian Ballet. During the 1970s Aldous continued to guest with companies in England, America and Europe and had a featured role with Fernando Bujones in the film The Turning Point.
After retiring from full-time performing in the mid 1970s Aldous taught at the Australian Ballet School and then in 1982 joined the faculty of the West Australian Academy of Performing Arts (WAAPA), Edith Cowan University, Perth. She and husband Alan Alder also spent a number of months in St Petersburg studying the teaching methods and philosophy behind the Vaganova system of training as espoused by the Kirov ballet school.
Aldous has also been an advocate of Boris Kniaseff’s floor barre as a system of training. Now retired from full-time work at WAAPA, Aldous continues to live in Perth and to coach, adjudicate and teach. She received the award for services to dance at the 2001 Australian Dance Awards and in 2009 was honoured with the award for lifetime achievement. Lucette received an Honorary Doctorate of Letters from Edith Cowan University in 1999, and in 2008 she was made a Dame of the Sovereign Order of Saint John of Jerusalem.
Lucette Aldous was recently made a Companion of the Order of Australia, the highest merit in the Australia Day Honours List. From henceforth she’s gained the distinction “AC” to accompany her name.
Lucette Aldous AC is a legend in the Australian dance community, inspiring everyone as she continues working into her 80th year, having now instructed young dancers in Perth’s ballet schools for quite some time after retiring from an impressive career on stage. Her award is for “eminent service to the performing arts, particularly to ballet, as a principal artist at the national and international level, to dance education, and as a mentor and role model for young performers”. This award arrives about 10 years after she was recognised at The Australian Dance Awards with a Lifetime Achievement Award at age 70. She is thrilled to receive her AC designation.
Director Margot Fonteyn Academy, New York
Kenneth Ludden first met Dame Margot Fonteyn when he was a ballet student in Central Pennsylvania. He was taken by his teachers to the graduation ceremony of the National Ballety of Washington, DC’s Academic School where Fonteyn presented diplomas to graduates. After that initial meeting, Fonteyn took an interest in the young dancer, eventually arranging for him to study at the Royal Ballet School. While in England, Ludden lived with Fonteyn’s mother, Hilda ‘BQ’ Hookham.
The association between Fonteyn and Ludden continued throughout the rest of her life. Once Ludden’s own ballet career began, he and Fonteyn worked together to form the plan for an International Fine Arts Academy. This development and planning period lasted for 8 years, and then, in the last 4 years of Fonteyn’s life, the two of them started to actively pursue seed money and funding for the proposed Institute. Fonteyn began teaching at the Joffrey Ballet School as a special guest, and took the opportunity to accelerate her work with Ludden to form the plan for a ballet academy within the planned Institute. Money did not immediately come through, and Fonteyn’s failing health and eventual death, the project never got off the ground.
Ludden worked with her family and close associates to plan her Washington, DC memorial service at Saint Matthew’s Cathedral, and helped with the tribute at the Lincoln Center Library for the Arts. He also directed the Kennedy Center, American Film Institute Tribute to Nureyev after he died. Ludden has gone on to write articles about Fonteyn and Nureyev, and is currently working on a book about his close work with the legendary ballerina.
Ken Ludden entered the professional performing arts world as a child with early appearances in television productions in the 1950s. He specialized in classical ballet, having an international career as a performer for two decades, and due to his close relationship with Dame Margot Fonteyn (1919-1991) he worked together with her for the final 12 years of her life to develop the educational program of The Margot Fonteyn Academy of Ballet, which he currently directs.
His performing career includes far more than classical ballet. He has sung professionally in classical, church and popular music; appeared in film and on television as an actor; has published many books from entertainment, to fiction, to textbooks, has choreographed two dozen classical ballets and many musical comedies; has served as curator and writer for the Max Waldman Archives; and many other areas.
He is an international teacher of classical ballet and lectures on many diverse topics. His science-fiction novel “Second Pass” began a 9-book series that is soon to be presented as a traditional RPG system; and his novel (originally published as a magazine serial) “Mary Go-Round” has been turned into a stage play (A Time Below) and is being prepared for a 24-episode mega series (Mary Go-Round).
Ludden has recently published “My Margot” which is memoir/biography of his long relationship with Dame Margot Fonteyn. The book is being edited by Judith Proctor. It came out at the same time as his new and greatly anticipated textbook on Pointe Technique.
Former Principal Dancer, The Australia Ballet
Brisbane-born Daniel Gaudiello strapped on his first pair of dancing shoes at the age of six at the Johnny Young Talent School, then at Promenade Dance Academy. Later he completed the Queensland Dance School of Excellence and Queensland Ballet professional year before being accepted into The Australian Ballet School, where he participated as an exchange student with The National Ballet School of Canada and the School of American Ballet.
Daniel joined The Australian Ballet in 2004 and in early 2007 participated in classes with some of the world’s finest ballet companies in London, Amsterdam, Munich and Paris. Daniel made his choreographic debut with a piece called Notte in Bianco for ‘Bodytorque. To the Pointe’ in 2009 and was promoted to principal artist in 2010.
Daniel’s repertoire highlights include;
- Franz in Coppélia 2010,
- Basilio in Don Quixote 2010,
- Lescaut in Kenneth MacMillan’s Manon 2008,
- Christopher Wheeldon’s Continuum© 2004,
- Petrouchka in Petrouchka 2009.
Daniel’s guest appearances include;
- English National Ballet in Le Spectre de la rose,
- London and Barcelona 2009 Awards,
- Australian Dance Award nomination for Dyad 1929 2010,
- Green Room Award nomination for Petrouchka 2010,
- Helpmann Award nomination for Graeme Murphy’s The Silver Rose 2010
- Telstra Ballet Dancer Award Winner 2007,
- Freda Irving Scholarship 2006,
- BJ Sutton Scholarship.
He won the Telstra Ballet Dancer Award for 2007 and was guest artist with the English National Ballet for performances ofLe Spectre de la rose in London and Barcelona, 2009.
Since leaving The Australian Ballet, Gaudiello has performed as guest artist with the Royal New Zealand Ballet, dancing Count Albrecht in Giselle in 2016 and Don José in Carmen in 2017.
- Des Grieux and Lescaut in Kenneth MacMillan‘s Manon, 2014 and 2008
- Petrouchka in Petrouchka, 2009
- Franz in Coppélia, 2010
- Basilio in Don Quixote, 2010
- Camille in Ronald Hynd‘s The Merry Widow, 2011
- Romeo and Mercutio in Graeme Murphy‘s Romeo and Juliet, 2011
- Red Knight in Ninette de Valois‘ Checkmate, 2011
- Lensky in John Cranko‘s Onegin, 2012
- Albrecht in Giselle, Queensland Ballet, 2013
- The Prince in Alexei Ratmansky‘s Cinderella, 2013
- Prince Désiré in David McAllister‘s Sleeping Beauty, 2015
- Tristan and Isolde for Bodytorque.Muses, 2011
- South of Eden for Bodytorque.a la Mode, 2010
- Australian Dance Awards, Outstanding Performance by a Male Dancer, 2011 for Franz in Coppelia
- Telstra Ballet Dancer Award, 2007