Graeme Murphy Quotes

And currently, there are four to five new works in the pipeline for upcoming celebrations such as the Sydney 2000 Olympics, Australian Federation, my 50th Birthday, and Sydney Dance Company’s 25th Anniversary.

We can’t afford big symphonies but we commission works that sound rich and symphonic because of the nature of the instrumentation and the people we work with.

I think the Olympics could help us reach more people.

I wanted to give people – which is fairly bizarre considering my whole life is contemporary dance really – I wanted to give people a really fulfilling sense that they had seen a white classical ballet – in a very pure form.

Normally our season is seven weeks in the Drama Theatre and four weeks in the Opera Theater.

Sydney is a very good market for us – we have a very strong following here.

Yes, Carl Vine stuck around. He’s now number one composer for choreography.

And dance is wonderful because dance is so immediate.

I actually build my dreams around the dancers I’ve got in my company.

I’m thrilled at the moment because our audiences, you know, they… the demographic is 50% male.

I think it requires a bit of honesty, Swan Lake.

We moved, and there was a golden era in the ’40s when we were so conscious of who we were as Australians.

SDC has a great reputation for putting live music on stage.

Some are less giving, others are more reticent and you actually have to create for them. Others have within them the next step.

There’s a line of dancers waiting to get into Sydney Dance Company.

I’m interested in people who can take the movement somewhere.

But I also wanted to give them an intelligent emotional journey, without having to suspend reality – to be able to look at those characters and see reasons for the relationships and why what happens happens.

I look at the dancers and I get the inspiration for the work from them.