Clare Morehen

By Dani Brown

Published in print: November 2024

In early September, just before the Ballet Theatre Queensland (BTQ) Intensive, I had the remarkable opportunity to speak with Clare Morehen, Artistic Director of BTQ, about the company’s latest work. This new production features an original score by Executive Director Dr. Lucas D. Lynch and choreography by Clare herself, a rare combination in Australia. The company provides a unique model for young dancers, offering 80 student performers the chance to work in a professional environment, with many dancing up to three roles across the production. Supported by a dedicated team of volunteers, BTQ represents a truly one-of-a-kind opportunity for aspiring dancers in the country.

Clare explained the significance of BTQ’s September week-long intensive, where the cast of 80 dancers finally comes together for six consecutive days to work intensively on the production. “Up until September, we get the dancers on consecutive Sundays, so every second Sunday. Occasionally, we might have two Sundays in a row, but in September, it’s the first time when we get them for six days in a row and can start to really piece the ballet together,” Clare said. By the end of this intensive week, Clare aims to have Act One of the production running smoothly, with much of Act Two already in place.

Managing the intense schedule is crucial, particularly given the mix of dancers’ backgrounds—from recreational students to those in full-time dance programs. “Some dancers are not used to dancing six days in a row, so we have to be careful. We have to pace ourselves,” Clare emphasised.

Clare and her team are acutely aware of the importance of managing the dancers’ workload to prevent overuse injuries, especially with many dancers working en pointe for certain sections. She explained, “Part of our audition process involves ensuring that our intermediate dancers have been en pointe for at least a year and our senior dancers for at least two years. This allows us to gauge their capabilities and tailor the choreography to their level.”

Company Manager and Rehearsal Director Kim Stokes plays a key role in monitoring the dancers’ well-being, adjusting rehearsals as needed. “When tiredness starts creeping in, we might decide to back off and take the pointe shoes off, slowing things down,” Clare said. “We’re always mindful of the dancers’ workload, especially around exam times, and we take a steady approach to build up towards the season.”

This year, BTQ expanded from 60 to 80 dancers, a decision that Clare described as both challenging and necessary. “We actually had 240 dancers audition this year from all over South East Queensland. We took 80. I refused to cull any more,” Clare shared. “Normally, we would take around 60, but because this is a new creation with Dr. Lucas Lynch, I designed the performance to include groups of dancers in different roles throughout the production. It made having 80 dancers not just feasible, but essential.”

BTQ’s performances are held at the Queensland Performing Arts Centre (QPAC), a prestigious venue that adds another layer of excitement to the production. “Hiring the premier venue in Queensland comes at a significant cost,” Clare noted, “so my thinking is we need to give this opportunity to as many dancers as we can. This is a new production, and I could facilitate that many dancers performing in it.”

BTQ’s commitment to nurturing young talent extends to dancers as young as eight, a new initiative that began with their production of Sleeping Beauty last year. “We introduced dancers aged eight to ten, equivalent to RAD level two and above, giving more opportunities to younger dancers,” Clare said. “The older dancers were so welcoming, and it was a joy to see the younger ones on stage. This year, we have 18 dancers in this cohort, including six boys, which is really exciting.”

Clare emphasised the invaluable support of her team, particularly the collaborative relationship with Executive Director Dr. Lucas Lynch. “For the first time in BTQ’s 87-year history, Lucas and I are both full-time this year, which has been vital in managing this complex production,” Clare noted. “We also have Kim Stokes, who is phenomenal with the dancers and incredibly organised behind the scenes. Lucas not only serves as our Executive Director but also composes the score.”

Clare described the creative process with Lynch as deeply collaborative. “He delivers the music, and I provide feedback—sometimes I love it immediately, and other times I ask for adjustments to make it more menacing or magical,” she explained. “Creating a full-length original score is rare in dance, and it’s special to have this opportunity for a world premiere.”

The BTQ community extends beyond the artistic team, encompassing a dedicated network of parents and volunteers who contribute to the production. “We have a costume designer who makes hundreds of costumes, working tirelessly during the week and on Sundays,” Clare said. “Many of the parents volunteer, crafting props and supporting behind the scenes. They gain insight into the arts and enjoy being part of something their children are passionate about.”

The involvement of volunteers not only supports the production but also enriches the experience for all involved. “They take pride in knowing they had a hand in creating the ballet, whether they sewed a costume or painted a set piece,” Clare shared. “We might seem like a small team, but we have an army of dedicated people. We’re so lucky.”

BTQ is committed to balancing the presentation of traditional ballets with the creation of new works that speak to contemporary audiences. Clare explained, “When I joined BTQ, I wanted to bring traditional ballets that young dancers see performed by professional companies, like Swan Lake and Cinderella. Over the years, I’ve also started creating sections within these works, gradually infusing my own choreography.”

Looking ahead, Clare envisions a future where BTQ continues to innovate while respecting the art form’s rich heritage. “There’s a place in ballet to tell new stories,” she said. “While traditional ballets will always have a place, it’s important to create new works that resonate with today’s audiences. Ballet is storytelling at its core, and BTQ aims to reflect that in its programming.”

One of BTQ’s most thrilling aspects is the incorporation of live music, a commitment that adds a professional touch to the dancers’ experience. “We’ve had an orchestra for the last two seasons, and the board has committed to continuing this because it’s such a valuable part of the dancers’ musical education,” Clare explained. “Dancing to live music is an exhilarating experience, and it’s something we strive to offer each year.”

Another exciting addition for this year’s production will be the inclusion of 24 choir members from The Voices of Birralee. These voices will feature during key moments of Lynch’s new score. “Having a 40 piece orchestra with 24 singers perform live in the Concert Hall, will be truly epic,” Clare said. “This season is definitely the largest, in terms of scale and logistics, that BTQ has ever produced.”

BTQ’s unique model, commitment to creating new works, and dedication to providing exceptional opportunities for young dancers make it a standout in Australia’s ballet landscape. With Clare Morehen’s visionary leadership, the company continues to inspire and challenge the next generation of artists, fostering a love for dance that transcends the stage.

https://btq.com.au/