Breaking the ballet mould

Alice Topp is the The Australian Ballet’s resident choreographer. She is keen on millinery, bicycles and a cat named Burger.

Ballet dancer Alice Topp. Picture: Aaron Francis

Following the success of your work Aurum you were appointed resident choreographer at the AB, making you only the second woman in that role in the company’s 56- year history. How does that responsibility sit with you?

On a daily basis I don’t think about it as a responsibility. I want to be known for my good choreography. Not because I’m female but because my work is strong. However, there aren’t many female ballet choreographers and I want to be an example to young female choreographers out there to remind them to keep trusting and nurturing their artistic voices and to follow their passion. Even if there’s not a path yet there, you can pave one for yourself. Take up space and be heard.

How did you find the transition from dancer to choreographer?

It’s been a great juggling act at times to manage the two hats but also the most amazing journey and I feel fortunate to be able to transition from one element of the art form that I love into another arm of it that I hope will be my future.

You have choreographed now for international companies, including Houston. How important is it to see Australian voices on the international stage?

It’s important our stories and voices are shared and heard just as much as anyone’s, and I think it’s incredibly important for us not to feel isolated in Australia and to be present in the greater dance community. We have a wonderful injection of fresh, unique artistic voices to share with the world.

You have a passion for sport. Does it translate into any of your work?

Cricket and footy are two things I’ve grown up watching and playing with my dad. I’ve always loved them. I grew up a Demon, coming from a family of MFC members. I loved going to the footy with my dad and grandfather and experiencing that energy in the stadium, the thrill of the game and following a team through the highs and the lows. And I guess as dancers we can relate to having the same great determination, discipline and commitment and the elements of preparation, training and performance in our practice. It’s hard for me to get to games with the demanding ballet touring schedule we have, but I go as often as I can.

How has the ballet world changed since you first strapped on a pair of pointe shoes as a four-year-old ballerina in Bendigo?

It’s a forever-changing landscape reflecting the current times and I guess the thing I have noticed the most has been the advancement of technology used in staging and production. The special effects you can create now are incredible and that technology wasn’t available in the 1980s. But ballet for me has definitely changed since I was a four-year-old. I always loved the fairytale stories and the classics, and now I’m much more drawn to modern voices, fresh and exciting new ways of using the body to express stories, ideas and convey emotion.

Aurum plays this month at the Sydney Opera House as part of the Australian Ballet’s Verve season.