Ballet at the Quarry: As One

West Australian Ballet

Ballet at the Quarry: As One Fri 5 Feb - Sat 27 Feb Quarry Amphitheatre Fri 5 Feb - Sat 27 Feb Quarry Amphitheatre $55 - $90
Event Info Sold Out
Fri 5 Feb - Sat 27 Feb at Quarry Amphitheatre, from $55 - $90

It’s that time of year again, when dance lovers gather at the Quarry Amphitheatre for a dazzling display under the night sky. Be treated to two world premieres in this program of three ballet and contemporary dance works.

In 4Seasons Natalie Weir presents four couples experiencing human connection through the universal language of dance. This poignant summary of the stages of life and love – the eternal youth of spring, the storm clouds of summer, the tenderness of autumn and the aging of winter – is set to Max Richter’s reimagining of Vivaldi’s iconic Four Seasons.

For Heartache WAB dancers, Artistic Director Aurélien Scannella and Principal Rehearsal Director and Artistic Associate Sandy Delasalle, come together to create an exciting work featuring powerful solos and stunning pas de deux. Journey through one man’s reflection on his life in a world premiere crafted from incredible passion and designed to enamour.

Inspired by the COVID-19 restrictions, Juan Carlos Osma and Dayana Hardy Acuña have created an evocative performance highlighting touch as a direct, immediate and spontaneous way of expressing our emotions. Moment of Joy will be accompanied by the virtuosic piano of WAB Head of Music, Michael Brett.

Enjoy this Perth summer favourite of dining and dance at the magnificent City Beach Quarry Amphitheatre.

Natalie Weir
Costume Designer
Bruce McKinven
Lighting Designer
Michael Rippon
Antonio Vivaldi, recomposed by Max Richter
Sandy Delasalle, Polly Hilton, Jesse Homes, Matthew Lehmann, Claire Voss & Jack Whiter
Concept & Creative Directors
Aurélien Scannella & Sandy Delasalle
Lighting Designer
Michael Rippon
Juan Carlos Osma & Dayana Hardy Acuña
Costume & Set Designer
Dayana Hardy Acuña
Lighting Designer
Michael Rippon
Music created and performed by
Michael Brett

Aurélien Scannella – Artistic Director
Aurélien Scannella was born in Mons, Belgium. He completed his training at the prestigious Royal Ballet School of Flanders and was subsequently accepted into the Royal Ballet of Flanders. After three years in Flanders he was appointed as a soloist, Deutsche Oper am Rhein, and then gained Principal dancer positions with the State Theatre Wiesbaden, Deutsche Oper Berlin and Ballett Basel. His repertoire includes all of the major classical ballets, as well as extensive experience in contemporary styles by working with choreographers such as Jiri Kylian, Angelin Preljocaj, William Forsythe, Hans van Manen, Maurice Bejart, Ray Barra, Valery Panov, Mauro Bigonzzetti, Nacho Duato, Heinz Spoerli, Richard Wherlock, Uwe Scholz, Patrick Delcroix, Violette Verdy, Ib Andersen, Mario Schroder, Paolo Bortoluzzi, Tomasz Kajdanski, including several Balanchine’s works.

During his dance career Aurélien participated in a number of international galas and festivals around the world. For two years he took part in the World Ballet Stars Festival in Kiev where he presented the duo from William Forsythe’s acclaimed In the Middle Somewhat Elevated with the French star dancer and his wife, Sandy Delasalle. This was the first time the duo was presented in the Ukraine, which was received as revolutionary by the press and the media.

Aurélien was a member of the Berlin based Gregor Seyffert & Company and participated in the European tour of Juan Carlos Garciaʼs Light in Shadows. In 2008 he decided to retire from his dancing career to focus on teaching. Quickly, he became one of the most sought after Ballet Masters on the market. Since then he has worked as a guest ballet master for Ballet Preljocaj, Scapino Ballet, National Ballet of Portugal, Dutch National Ballet, Ballet d’Europe, Béjart Ballet Lausanne, Bordeaux Opera Ballet, Lyon Opera Ballet, Finnish National Ballet, Royal Swedish Ballet, Hong Kong Ballet, National Ballet of Estonia and Ballet du Rhin. He has also taught master classes in Brussels, Paris, Rotterdam, Cannes and Tokyo.

Aurélien became artistic director of West Australian Ballet in 2013, quickly bringing a high technical standard to the company and introducing new international choreographers such as David Dawson, Edward Clug, Annabelle Lopez Ochoa, Youri Vamos, David Nixon, Eric Gauthier, Patrick Delcroix, Claude Brumachon and Krzysztof Pastor. Since 2013 he has rapidly grown the number of dancers within the company, with a total of nine nationalities represented within the troupe as of September 2018. He has added a large amount of core repertoire, including new productions of Giselle, Romeo & Juliet, La Fille ma gardée, Snow White and the Seven Dwarfs, Coppelia, Cinderella, Beauty and the Beast, The Nutcracker, The Great Gatsby, Dracula and ALICE (in wonderland).


Natalie Weir – Choreographer (4Seasons)
Natalie Weir is known internationally for her highly physical partner work, her organic movement style and her touching insight into humanity. She trained at QUT and was a founding member of Expressions Dance Company. She has created over 170 professional works in her 30 year career, including major new works for world class companies such as The Australian Ballet, Queensland Ballet, West Australian Ballet, Houston Ballet, Singapore Dance Theatre, Hong Kong Ballet and American Ballet Theatre. She was resident choreographer for The Australian Ballet and Queensland Ballet and was appointed EDC’s Artistic Director in 2009, fulfilling her dream to build an ensemble of dancers and contribute to the future of Australian dance.

Natalie’s 2010 signature work with EDC, where the heart is, won Best Performance by a Company at the 2011 Australian Dance Awards and Best Choreography and Best Ballet or Dance Work at the 2011 Helpmann Awards. Her signature works with EDC have earned ten Helpmann Award nominations.

Bruce McKinven – Costume Designer
Bruce McKinven’s career as set, costume and event designer spans 30 years, working across the fields of theatre, dance, festivals, events and film. He has designed for many of Australia’s leading theatre and dance companies, arts festivals and independent artists. He is currently senior site designer for DarkLab, the Hobart based company responsible for producing Dark Mofo and site designer for Adelaide Festival’s Adelaide Writers’ Week. Since 2011 he has been Sessional Lecturer at Western Australian Academy of Performing Arts (WAAPA) in 3rd Year Design.

Bruce has worked around Australia designing for theatre directors Neil Armfield, John Bell, Michael Gow, Marion Potts, Wesley Enoch, Kate Cherry, Mel Cantwell, Adam Mitchell, Clare Watson, Jon Halpin and Leah Purcell; for companies including Company B Belvoir, Bell Shakespeare, Sydney Theatre Company, Australian Theatre for Young People, Griffin Theatre Company, Hothouse Theatre, La Boite, Jute Theatre, Perth Theatre Company, Queensland University of Technology, University of Southern Queensland, State Theatre Company of South Australia, Black Swan State Theatre Company and over 20 productions for Queensland Theatre Company. In youth theatre he has worked closely with Goat Track Theatre in South East Queensland for the last four years, designing the sets for six of their recent productions with director Andrew Wright. He has also worked extensively in contemporary dance. For Expressions Dance Company and Natalie Weir he designed The Red Shoes, where the heart is (2011 Helpmann Award for Best Dance, 2011 Australian Dance Award for Outstanding Work by a Company), R&J (2012 Australian Dance Award for Best Choreography) and Jigsaw. He collaborated with Weir for other companies including Australian Dance Theatre, Tasdance, Brisbane Festival and costumes for 4Seasons for Singapore Dance Theatre. He has also worked with Kate Champion for Force Majeure designing costumes for Age I’m In, Garry Stewart for Australian Dance Theatre, Raewyn Hill for DanceNorth, Michael Whaites for LINK Dance Company, Queensland Ballet, WA Ballet, Brian Lucas, Prying Eye, Barry Moreland and Lisa Wilson. Bruce has developed a close working relationship with Clare Dyson, collaborating together on Absence(s), Being There and Voyeur, which also toured to Houston Texas in 2010. In 2014 Bruce designed the ballet Don Quixote for Singapore Dance Theatre, working with internationally famed dancer Cynthia Harvey as Director, and in 2019 he designed Sunset, an immersive dance theatre work by Director Maxine Doyle (Punchdrunk, UK) and Strut Dance presented by Perth Festival.

Jack Whiter – Choreographer (Heartache)
Born in Canberra, Australia, Jack Whiter trained under his mother at Sparkles Dance Studio (now Acclaim Dance and Cheer Co.) starting at the age of nine. In 2015 he moved to Wellington to train at the New Zealand School of Dance, graduating in 2017. During his time at the school, he had the opportunity to perform alongside the Royal New Zealand Ballet during their season of Ethan Stiefel and Johan Kobborg’s Giselle.

Jack joined West Australian Ballet in 2018 as a Young Artist and became a Corps de Ballet member in 2019. Since joining WAB he has had the chance to dance many roles such as the King Rat in The Nutcracker and the Duchess in ALICE (in wonderland). He has also choreographed two works, Moonlight and Prelude for WAB’s 2019 and 2020 Genesis seasons.
Jack’s other repertoire includes George Balanchine’s Allegro Brillante, Val Caniparoli’s Aria, Kenneth MacMillan’s Concerto, Graeme Murphy’s Air and Other Invisible Forces and Krzysztof Pastor’s In Light and Shadow.

Matt Lehmann – Choreographer (Heartache)
Born in Melbourne, Matthew Lehmann started training at Ballet Theatre Australia in 1999 and continued to develop his skills at The Australian Ballet School in 2002. 2005 saw him perform for the first time with the West Australian Ballet in their season Dangerous Liaisons by Simon Dow.
After graduation Matt moved to Canada to join Alberta Ballet and during his time there he portrayed Tybalt and Velmont in Onegin and Dangerous Liaisons respectively. He also had the opportunity to perform in his favourite piece of Yukichi Hattori’s choreography, Tubular Bells. After five years with the company, and a side line participation in the Banff Professional Dance summer intensive program, he moved to Perth to continue to grow as a dancer joining West Australian Ballet for their 2010 Gala season.

Aurèlien Scannella led Matt to the height of his career when he was promoted to Principal dancer after the season of Onegin by John Cranko in 2013. His portrayal of Onegin resulted in a nomination for most outstanding performance by Male Dancer at the WA Dance Awards in 2014. In his time with the company, he has performed many lead roles in both classical and contemporary works by choreographers including Edward Clug, Itzik Galili, Annabelle Lopez Ochoa, Jiří Kylián, John Cranko, David Dawson, Garry Stewart, George Balanchine, Uwe Scholz, David Nixon, Youri Vámos, Claude Brumachon and Krzysztof Pastor. He was also invited to perform On the Nature of Daylight with principal ballet mistress and artistic associate, Sandy Delasalle, at the 2016 Helpmann Awards.

Polly Hilton – Choreographer (Heartache)
Born in Hong Kong, Polly Hilton completed her formal training at The Australian Ballet School, earning exchange scholarships to Canada’s National Ballet School, Toronto and the School of American Ballet, New York. After a year working off stage in The Australian Ballet’s Dance Education team she trained further with the late Prudence Bowen to rejoin The Australian Ballet for Swan Lake 2012 – 13.

Aurelien Scannella offered Polly a place in the Corps de Ballet in 2013 as part of his first intake of artists, promoting her to demi-soloist in 2014 and soloist in 2019. At West Australian Ballet her stage highlights include Edith (Gamzatti) in La Bayadere; Kitri, Mercedes and Queen of the Dryads in Don Quixote coached by ballet legend Lucette Aldous; Myrtha in Giselle; First Violin in Balanchine’s Concerto Barocco; Evil Queen in Snow White; Lead Sylph in La Sylphide, Stepmother and Fairy Godmother in Cinderella; and creating the role of The Ballerina in Reincarnation by Garry Stewart.

Claire Voss – Choreographer (Heartache)
Claire Voss joined the Company’s Corps de Ballet in 2016 and was promoted to demi-soloist after The Nutcracker (2018). Born in Briey, France, Claire moved from her home at age 14 to train at the Conservatoire National Supérieur of Paris, Rosella Hightower in Cannes. She completed her training at the Ballet Central in London, then graduating from Rosella Hightower and Ballet Central with a Bachelor degree in Arts. She has previously danced with Dortmund Ballet, Zurich Ballet and Finnish National Ballet. She has performed roles such as Olga in John Cranko’s Onegin, Pas de Deux in Demis Volpi’s Little Monsters, Cupido in Patrice Bart’s Don Quixote, 3 odalisques in Ivan Liŝka’s Le Corsaire, the Sylphide in August Bournonville’s La Sylphide, the Sugar Plum Fairy in The Nutcracker and Lead Wili in Giselle.

Jesse Homes – Choreographer (Heartache)
Jesse Homes started dancing in Adelaide at age three at the Barbara Jayne Dance Centre. He moved to Melbourne at age 13 and continued training at The Australian Ballet School. He then attended the Victorian College of the Arts Secondary School and completed his VCE academic studies. In 2014 he graduated with a Diploma in Dance from the New Zealand School of Dance, then being offered a position within West Australian Ballet’s Young Artist Program (supported by the Simon Lee Foundation).

In 2016 Jesse joined West Australian Ballet’s Corps de Ballet. His highlights include performing the Lead Gypsy in Lucette Aldous’ Don Quixote, Claude Brumachon’s Les Indomptes and Renfield in Krzysztof Pastor’s Dracula. He is a keen musician playing both guitar and piano and has a strong passion for sport.

Sandy Delasalle – Choreographer (Heartache)
Sandy Delasalle was born in Cannes, France. She completed her training at the Centre International de Danse – Rosella Hightower and at the Académie de danse classique – Princesse Grace in Monte Carlo. At the age of 17, Swiss chorographer and director Heinz Spoerli, noticed her at the Prix de Lausanne and offered her a soloist contract with the Basler Ballet. Five years later Sandy was appointed as a Principal dancer, Deutsche Oper am Rhein, followed by the State Theatre Wiesbaden, Deutsche Oper Berlin and joined the Ballet du Rhin after the birth of her son. Her repertoire includes the major roles in Swan Lake, The Nutcracker, Don Quixote, Giselle, Sleeping Beauty, Romeo & Juliet, La Sylphide, La Fille mal gardée and Coppelia. Since her debut she’s been working with the greatest contemporary choreographers such as Maurice Béjart, Nacho Duato, Hans Van Manen, William Forsythe, Jiri Kylian, Valery Panov, Nils Christe, Ronald Hynd, David Nixon, Ray Barra, Lucinda Childs, including works by George Balanchine and Angelin Preljocaj for whom she performed Le Parc with Paris Opera Etoile – Laurent Hilaire.

During her dance career Sandy was a special guest artist with Ballett Frankfurt under the direction of William Forsythe to perform In the Middle Somewhat Elevated, as well with Uwe Scholz in Leipzig, Youri Vamos in Dusseldorf and Richard Cragun in Berlin. In 1997 she was nominated Best Upcoming Dancer from international ballet critics. She has participated in a number of international galas and festivals in New York (Metropolitan Theatre), Tokyo, Tel Aviv, Kiev, Madrid, Istanbul, Paris, Los Angeles and Taipei performing various productions such as Bahkti, In the Middle Somewhat Elevated, Giselle, Swan Lake and Romeo & Juliet with her husband Aurélien Scannella.

Sandy joined West Australian Ballet as Ballet Mistress in 2013 and made her return to the stage in Annabelle Lopez Ochoa’s La Pluie with Principal dancer Matthew Lehmann in 2015 for Zip Zap Zoom: Ballet at the Quarry. Since joining the company her on-stage partnership with Lehmann has been an audience favourite, performing works together including David Dawson’s On the Nature of Daylight (Five by Night: Ballet at the Quarry, 2016) and Krzysztof Pastor’s Ombra during the 2016 Le Sept Sens Gala. She was also invited to perform On the Nature of Daylight at the 2016 Helpmann Awards ceremony in Sydney.

In 2018 Sandy was promoted to Principal Ballet Mistress and artistic associate

Jonathan Hindmarsh – Costume Designer
Jonathan Hindmarsh is an award-winning Australian production designer. He graduated from NIDA’s Bachelor of Dramatic Arts (Design for Performance) in 2015 and is the recipient of the 2018 Green Room Award for Design and the 2018 Sydney Theatre Award for Best Costume Design of an Independent Production. His recent design work includes set for A View from the Bridge (Ensemble, 2019), set and costumes for Pomona (Red Stitch 2019), Trevor (KXT 2019), The Astral Plane (Belvoir 25A 2019), Grounded (National Theatre of Parramatta 2019), costumes for Garry Stewart’s Reincarnation (West Australian Ballet 2019), set design for Brisbane Festival’s I’ve Been Meaning to Ask You (The Good Room 2018), set and costumes for the Australian premiere of The Humans at The Old Fitz (2018), The Girl/The Woman (National Theatre of Parramatta 2018), the Green Room Award-winning Apokalypsis (Next Wave Festival 2018), Kill Climate Deniers (Griffin 2018) and Metamorphoses (Apocalypse Theatre 2018). For the Old Fitz Theatre in 2017 Jonathan designed productions of A View From the Bridge, Doubt: A Parable, Crimes of the Heart and The Judas Kiss. His work also includes design of the set for Look Back in Anger (2016), set and costumes for Low Level Panic (2016), costumes for Sport For Jove’s Away (2016) and set for Belleville (2016). Jonathan was assistant designer to Elizabeth Gadsby on Dinner (STC 2017) and The Rape of Lucretia (SCO 2017). For screen, he has production designed a number of music videos, including Tonight Alive’s 'How Does It Feel', Huntington’s 'Secret' and short films The Craft (13&Co) and Red Flags for ACON health organisation.

Juan Carlos Osma – Choreographer (Moment of Joy)
Born in Havana, Cuba Juan Carlos Osma began his dance studies in 2002 at the Elementary School of Ballet, Alejo Carpentier. In 2007 he enrolled in the National School of Ballet Fernando Alonso Academy where in 2010 he became a professional dancer and ballet teacher. Following his graduation he toured with Ballet Revolucion for two years. He has worked as a Principal dancer in companies including The Joburg Ballet (South Africa) and Liaoning Ballet (China) dancing principal roles in Dracula, La Bayadère, Les Sylphides, Giselle, Swan Lake, The Nutcracker, Don Quixote, Spartacus of Africa, Veronica Paper and The Butterfly Legend. He also was a guest artist with Acosta Danza (Cuba).

Juan Carlos has also choreographed a number of works including Let It Be (2013), 4D and Emotive (2014). His piece Find Me was premiered by the Liaoning Ballet and presented on the Primorsky stage of the Mariinsky Theater in Vladivostok, Russia.

Dayana Hardy Acuña – Choreographer (Moment of Joy), Costume & Set Designer
Dayana Hardy Acuña completed her training at the National School of Ballet Fernando Alonso Academy (Cuba) in 2010. She danced as a soloist at Ballet Santiago de Cuba before being promoted to Principal dancer with The Joburg Ballet and then Liaoning Ballet (China). While there she performed principal roles in La Bayadère, Les Sylphides, Giselle, Swan Lake, The Nutcracker, Don Quixote, Spartacus of Africa, Veronica Paper and The Butterfly Legend.

Dayana was also a guest artist with Acosta Danza (Cuba). Since joining WAB, her highlights include the improvised pas de deux in Aurélien Scannella, Sandy Delasalle and David Mack’s In-Synch as part of In-Synch: Ballet at the Quarry, Nikiya in La Bayadere and Giselle and Lead Wili in Giselle.

Michael Brett – Music
Born in Auckland, New Zealand, Michael Brett trained at the School of Music at The University of Auckland during which time he commenced accompanying ballet classes at the Philippa Campbell School of Ballet. This led into a career spanning over 30 years in which he has accompanied classes, rehearsals, examinations and performances in classical ballet, contemporary dance, jazz, tap and national dance styles. Michael freelanced for many years until 1999, when he accepted a position as pianist at the New Zealand School of Dance in Wellington. In 2001 he moved to Germany where he was offered contracts in Berlin, Hamburg, Stuttgart and Düsseldorf. After a short-term position at the John Neumeier School and Company of the Hamburg Ballet, he joined The Stuttgart Ballet in 2002. Highlights include working closely with such choreographers as Christian Spuck, Itzik Galili and Wayne McGregor and touring with the Company to America, Egypt and Switzerland.

Michael relocated to Sydney in 2006 as staff pianist and music administrator for the Royal Academy of Dance in Australia, a position created especially for him. He accompanied examinations and courses for teachers and students throughout the country and assisted teachers in the musical aspect of their training. He has also accompanied International Summer Schools for the Academy in New Zealand, Singapore and London.

From 2008 – 13, following two seasons as guest company pianist for the West Australian Ballet’s productions of John Cranko’s The Taming of the Shrew and Director Ivan Cavallari’s The Nutcracker, Michael was repetiteur and lecturer at the Western Australian Academy of Performing Arts (WAAPA) at Edith Cowan University. In 2014 he was appointed music coordinator and company pianist at West Australian Ballet, again, a position created especially for him by Artistic Director, Aurélien Scannella, where highlights have included working with Aurélien and his wife, Sandy Delasalle, on their production of Giselle, and Diana White, répétiteur for The Balanchine Trust, in the Company’s 2015 production of Balanchine ballets.

Michael is in constant demand as a dance accompanist, well regarded as a skilled and inspiring improviser for ballet class and with an extensive repertoire including all the major classical ballets. He continues to freelance for the Royal Academy of Dance, The Commonwealth Society of Teachers of Dancing, local ballet schools and engagements overseas. He has also composed and recorded the music for the Commonwealth Society of Teachers of Dancing classical ballet syllabi. In his ‘spare’ time he is harpsichordist for New Holland Consort, and accompanies and directs for the Gilbert & Sullivan Society of Western Australia.

West Australian Ballet
West Australian Ballet (WAB), based in Maylands, is the State Ballet company of Western Australia and an Australian major performing arts company, presenting a dynamic program of classical and contemporary dance works in metropolitan Perth, regional Australia and beyond, alongside an extensive education and community access program.

Time & Location

Fri 5 Feb - Sat 27 Feb

Tue - Sat 8pm | Gates open 6pm

Quarry Amphitheatre, 1 Waldron Dr, City Beach / Mooro


1hr 55mins including intervals

  • A Reserve

    • Adult: $90
    • Concession: $80
    • Friend: $80
    • Student: $65
  • B Reserve

    • Adult: $65
    • Concession: $60
    • Friend: $60
    • Student: $55

Program Times

Work 1 25mins
Interval 1 15 mins
Work 2 26mins
Interval 2 20mins
Work 3 29mins



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