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Short filmTranscript
00:06Hi, Virginia.
00:08David, hello.
00:09Oh, it's lovely to talk to you.
00:11You've been an utterly driven dancer,
00:15pitiless in your self-criticism.
00:17Was that necessary to get you to the top?
00:20Absolutely necessary.
00:22I, in fact, probably don't know any other way.
00:25I just had this innate drive and dedication as a kid,
00:29so I think that's absolutely imperative to get to where I got.
00:33And was it fun up there?
00:36It was a lot of fun, but it was a lot of stress,
00:41and I think I now realise the sacrifice it took.
00:46I guess I did fly very close to the sun,
00:49and the fall was fast and quick,
00:52but I think it just afforded me this moment
00:55to completely rebuild myself.
00:58Not only as an artist, but as a person.
01:02Well, your new chapter is leading the Australian ballet,
01:05so I want to see you in action.
01:07Ha! I cannot wait for you to see me in action.
01:10I'll see you there.
01:11Thank you, Virginia.
01:15I'm Virginia Trioli,
01:17and I've spent my life paying attention to creative Australians
01:20and wondering, what is going on in that wild mind of theirs?
01:26In this series, I'll showcase artists and performers
01:29at the peak of their powers
01:31and tell the story of their triumphs, their stumbles,
01:34and why they make the glorious work we love so much.
01:38David Holberg has been described
01:40as the Rudolf Nureyev of his generation,
01:43a tap-dancing kid who rose to the top of classical ballet
01:47and danced on all the world's great stages,
01:49including as a rare American member
01:52of the famed Bolshoi Ballet.
01:54Now, as the artistic director of the Australian Ballet,
01:58he's taking the company that he cherishes
02:00for deeply personal reasons
02:02to exalted new heights.
02:05I'm thrilled to be unashamedly celebrating
02:07the art of making,
02:09because we are a country of so many brilliant, creative types.
02:29David, hello.
02:30Virginia.
02:32Great to see you.
02:33Nice to see you.
02:33And to meet you here.
02:34I know this building means a lot to you.
02:36Oh, it means so much to me,
02:38but it means so much to everyone.
02:40I mean, it's such an iconic building.
02:42It is the building.
02:44Tell me about your first glimpse of the Sydney Opera House.
02:48Well, my first glimpse was up in the air.
02:50I was in a plane.
02:51I was glued to the window,
02:52and I just saw this amazing sight, you know,
02:56poking out of the harbour.
02:58And, of course, I was awestruck,
03:00but then I realised at one point
03:03I was going to dance on this stage.
03:05This great American dancer
03:07was coming to dance on the Australian stage.
03:09Yes, and how special it was, you know,
03:12for someone like me to come to Australia as a foreigner
03:16and to be able to hopefully light up the stage
03:21for Australian audiences.
03:22And now to direct the entire company.
03:25Huge responsibility.
03:27Thank you for that.
03:30Is there an Australian-ness that you connect to,
03:33a quality to the dance that's Australian?
03:35Do you know, it's the humanness.
03:39It's the warmth.
03:41That's something that I was connected to
03:44from the very beginning
03:45with the dancers of this company,
03:47is that the warmth that they exude to their audiences.
03:50And I think, as well,
03:52that the audiences give it back to
03:55the performers on stage.
03:56It's like a reciprocal kind of Australian warmth
03:59that I've always loved.
04:01Do you ever get the temptation
04:02to jump back on stage yourself?
04:05Those days are long gone, Virginia.
04:08Unless you want to take my hand
04:09and join me on that stage.
04:11You and me on stage together.
04:11Let's do it.
04:12I think we should.
04:13All right, come on.
04:13Come on.
04:31What does it require from a great dancer
04:33to really perform and bring out their best
04:36on the world's great stages?
04:38The journey is fraught
04:41with a lot of self-doubt
04:43and dedication and commitment.
04:46But, you know, that sacrifice,
04:48we would all admit, is worth it.
04:50Because, yes, we have the opportunity
04:53to dance on this amazing stage
04:55in this amazing theatre.
04:57But it is a true journey.
04:59And it takes everything out of you
05:02to get here.
05:06Like most elite performers,
05:08David's passion for dance
05:10began as a child.
05:12All right, David,
05:13who is this beautiful little cherub here?
05:17Just a bit of a gangly, awkward,
05:21little suburban kid.
05:23My brother's next to me,
05:24mom and dad, of course.
05:26And here we are in our bow ties.
05:28You know, I think I loved a bow tie
05:29as a young kid.
05:30You were a dandy from day one.
05:32Yeah, I was a dandy on day one.
05:35But, you know,
05:36that was when I first started
05:39finding the love of dance,
05:41the passion of dance.
05:42How did it come to you?
05:45Fred Astaire.
05:46I idolised him.
05:48I saw him on the TV screen.
05:52Yeah.
05:53And for some reason,
05:54I was just absolutely transfixed.
06:08But, yeah,
06:09my first love was tap.
06:14He was 13 when he actually said,
06:18I'm going all in with ballet.
06:20But in the meantime,
06:23we really tried to combine
06:26what I call normal American boy activities.
06:30But David's interest in dance
06:32was so strong.
06:33When we actually moved to Phoenix, Arizona,
06:36he was thrilled
06:37because we were closer to California,
06:39closer to Hollywood.
06:41And it took us quite a long time
06:44to realise that he was exceptional.
06:49So how did you start studying dance?
06:51Here you are as a young dance student.
06:53And this is a more modern idiom here.
06:55Look at you,
06:56the only bloke in class there
06:58amongst all the girls.
06:59This picture actually reminds me
07:02of my community.
07:03I mean, this was my group.
07:05This is who accepted me.
07:07At night,
07:08at jazz class,
07:10at tap class,
07:11I was allowed to be
07:13who I wanted to be
07:15with my community.
07:16You were relentlessly bullied at school.
07:19Relentless.
07:20In fact,
07:21there's really no way
07:22to diminish that
07:23or find any humour in that.
07:26It sounded unbelievably awful.
07:29It was awful.
07:31It was confusing.
07:34I was about nine years old,
07:37ten years old.
07:38And I was standing in line
07:40with maybe a friend
07:41to go into class in the morning.
07:44And out of nowhere,
07:46three kids came up to me,
07:47three guys,
07:48and they said,
07:50you're a girl.
07:52And I was like,
07:54what?
07:55And they're like,
07:55you're a girl.
07:56And you know what girls do?
07:57They wear perfume.
07:59And they took a bottle
08:00and dumped it on me.
08:02Tipped an entire bottle
08:03of perfume on you.
08:04Cheap perfume, too.
08:05Oh.
08:07And I just remember
08:09being doused in this perfume
08:12and just feeling so humiliated.
08:16The scars run deep.
08:18You hold your scars
08:20from childhood
08:20for your entire life.
08:23We were disgusted,
08:26angry,
08:27supportive.
08:28I mean,
08:29we,
08:30I think we just kind of
08:32went into warrior mode.
08:33The bullying
08:34had already started
08:35in Minneapolis
08:36with all the little
08:37hockey players.
08:38Yeah.
08:39And the hockey kids
08:41would bring their skates
08:42to show and tell
08:43and David would bring
08:44his tap shoes.
08:45So that was,
08:46you know,
08:46that's when it started.
08:47And the advice was
08:51to protect him
08:53by finding the environment
08:55that he was safe in.
08:57You were saved,
08:59in a way,
09:00by this lovely gentleman,
09:02Mr. Han.
09:04Mr. Han was,
09:07he gave me my foundation.
09:10He recognised my talent
09:12in classical ballet
09:13before I even knew
09:14I wanted to be
09:15a ballet dancer.
09:16And so I slowly transitioned
09:19from tap and jazz
09:20to strictly ballet.
09:22And once I was ready,
09:25I put the tights on
09:26and he just drilled me.
09:30He showed me
09:32the foundations
09:33of classical ballet.
09:34Had I not had him,
09:36I don't know
09:37how I would have shaped
09:39as a dancer.
09:40That teaching worked for you.
09:42That severe drilling,
09:44to use your phrase,
09:45that landed with you.
09:47It did.
09:48He was a drill sergeant.
09:50Yeah.
09:50And I responded
09:51so well to it.
09:52And, you know,
09:54I know training
09:54has changed.
09:55I know not everyone
09:57responds to that
09:58sort of teaching,
10:00but I absorbed it
10:02like a sponge.
10:04As his confidence grew,
10:06David received an unexpected offer
10:08that would change
10:09the course of his life.
10:12And so this is your audition tape
10:14for the parasol.
10:20Do you like the technique
10:21you're seeing there?
10:22Honestly,
10:23it's clean,
10:24but I had no idea
10:26what I was doing
10:27and if it was good.
10:28I really didn't.
10:30Look at that.
10:30I just heard
10:31the commands
10:32from Mr. Han
10:33and he was supportive
10:35of me auditioning
10:36for the Paris Opera School.
10:38But just look at
10:39the naivete
10:41in that face.
10:42It's,
10:43you know,
10:44I'm just
10:46so green.
10:50But he got such
10:52the cold shoulder
10:53from the dancers there.
10:55Talk me through that.
10:56He was already
10:57toughened up.
10:59Not that he was tough,
11:01but he had experienced
11:03bullying
11:04and rejection
11:05and he,
11:07he didn't think
11:08it would happen there.
11:09He had some really mean
11:11things happen
11:13and said to him
11:14all along.
11:16and he wrote
11:18these postcards.
11:19Did he tell you
11:19about his postcards?
11:21You tell me
11:21about the postcards.
11:22He wrote the postcards.
11:24So I reviewed
11:25some of the postcards.
11:27Here's my,
11:27here's my postcard book.
11:29And it was a pretty,
11:32I'm lonely
11:33and I'm being,
11:34you know,
11:34they're,
11:35they don't like me.
11:36And so when he came home
11:37for Christmas,
11:38we gave him the option.
11:40We said,
11:40it sounds like
11:41it's very tough
11:42and sometimes
11:44you're not happy.
11:46And we want you
11:46to know
11:47that you can
11:47make a choice
11:48to stay.
11:49You don't have
11:49to go back.
11:50And he was furious
11:52that we even
11:53suggested that.
11:56And so
11:57I'm not sure
11:58this was the right
11:59parenting,
12:00but I said,
12:02okay,
12:03then enough
12:04with the lousy
12:05postcards.
12:07You change
12:08your tone.
12:09But David
12:10had only ever
12:11wanted to be
12:12at one company,
12:13the renowned
12:14powerhouse
12:15of classical
12:16and 20th century
12:17dance,
12:18the American
12:18Ballet Theatre.
12:20And when I moved
12:21to New York,
12:22it's as if
12:23the dream
12:24had come true,
12:25but I was
12:26blindingly ambitious
12:29and I wanted
12:31to become
12:31a star.
12:33So what did
12:34you learn there?
12:34How was your
12:35craft honed
12:37and changed
12:37again at ABT?
12:39There is
12:41an enormous
12:42transition
12:43from a school
12:45kid training
12:46like a soldier,
12:47like I did,
12:48to a professional,
12:49making your own
12:50decisions as an artist,
12:52having your own
12:53discipline.
12:54There's not a teacher
12:54behind you saying,
12:55do this,
12:56do that.
12:57So it wasn't
12:58so much
12:58in terms of technique,
13:00but it was more
13:01in terms of performance,
13:02in terms of how
13:03I'm going to be
13:04a professional
13:04on stage
13:05for an audience.
13:10Misty,
13:10you were young dancers
13:11together at the
13:12American Ballet Theatre.
13:13When did you realize
13:14that he was
13:15something special?
13:16From the moment
13:17I saw him,
13:18there's an intention
13:19and there's a focus
13:21that's different
13:22from a lot of young
13:23dancers that David
13:24had,
13:25apart from his
13:25beautiful lines
13:26and his feet
13:27and all of those
13:28things that I was
13:29immediately drawn to.
13:31What was he like
13:31as a partner?
13:33You know,
13:33David is
13:37someone, I think,
13:38who is always
13:39really curious
13:40and eager to learn.
13:46It's important
13:47to remember
13:47just how incredibly
13:49successful you were,
13:50though.
13:51You were a celebrated
13:52dancer and artist.
13:54And then the
13:55Bolshoi Ballet,
13:55comes calling
13:57to an American
13:58dancer.
13:59That never happens.
14:02It never happens.
14:04But it happened.
14:05It happened.
14:06And I was
14:10completely taken
14:11off guard
14:12when it was announced
14:13that I was going
14:14to the Bolshoi.
14:15I mean,
14:15you know,
14:15it was all over
14:17the news.
14:18It was,
14:19you know,
14:19it was,
14:20I just felt
14:21this immense
14:23pressure.
14:24In this
14:25very traditional
14:27performance
14:28and production
14:29of The Sleeping Beauty
14:30from the Bolshoi Ballet,
14:32it clearly requires
14:33from you
14:33all of your
14:34most life artistry
14:36in order
14:37to bring to life
14:38the boldness
14:39that you talk about
14:40and the grand
14:41steps and those
14:42incredible turns
14:43that you've got
14:44to do.
14:44Shall we have a look?
15:11How does that
15:11make you feel
15:12watching that?
15:14How did I ever
15:15do that?
15:16Also,
15:17I did that
15:18on a sprained ankle.
15:20This was
15:21the telecast,
15:22you know,
15:23going to cinemas
15:24around the world.
15:25Grandma was watching
15:26me in Indiana.
15:28And my second
15:29jump in my
15:31entrance,
15:31I sprained my ankle.
15:38So I was doing
15:39that through
15:40the sheer grit
15:41of pain
15:42and determination
15:44determination.
15:47But I knew
15:48the moment.
15:49That was the moment.
15:51And I could not fail.
15:54You had to deliver
15:55because this is the sequence.
15:58I had to deliver.
16:02David was just a one-off.
16:06He was a prince.
16:07I think he probably came out of the birth canal as a ballet prince.
16:12He just had this incredible elegance and intellect.
16:19He was a really curious and clever dancer.
16:23And every time I saw him dance, he just got better and better.
16:27So he really, it wasn't quick.
16:30He really worked hard.
16:32And so when he did, you know, finally emerge, it was a fully formed, you know, artist.
16:46To me, like, he is just like the epitome of ballet in the best way.
16:52You know, I think he just brought an elegance and a power and an honesty to all of the roles
16:57that he pursued.
17:10David was an international star.
17:13In one year, he flew 75,000 miles, dancing with all the great companies, including as a guest of the
17:20Australian Ballet.
17:21But something wasn't right.
17:25So you're riding high and you're dancing the great roles on all the great stages.
17:30But there was that sprain.
17:31There was one other sprain as well.
17:33And at this point, you start to feel that persistent nagging itch.
17:37Well, I think the ambition I had in my career.
17:40Yeah.
17:41I wasn't going to let anything get in the way.
17:44Even injury.
17:46Until I couldn't.
17:47That's that blind driven aspect of being you and being a dancer.
17:51Blind.
17:53Mm.
17:53And it got me to great places.
17:58And I'm so, you know, I'm so honoured to dance where I danced.
18:03But I did pay an ultimate price.
18:06Yeah.
18:07David had a torn deltoid ligament in his left foot.
18:11He underwent surgery.
18:12But after his rehabilitation failed to improve him, David reluctantly went back for a second surgery.
18:20Shockingly, that didn't work either.
18:23I could barely walk.
18:24And I was living in Manhattan, you know, trudging up and down subway stairs and on crutches.
18:31And I really felt like, oh my God, you never think you'll be the one to have a career ending
18:39injury.
18:40Mm.
18:40And I felt like I had my career in my hands and it was slipping through my hands.
18:48David had run out of road.
18:50But he hoped that one ballet company at the other end of the world might be his salvation.
18:56I had guested with the company before, fell in love with the Australian Ballet, the company, the country.
19:02And everyone knew that the medical department at the Australian Ballet was the best in the dance world.
19:08He rang and said, I want to come and work with, you know, your team.
19:13And I said, yep.
19:15When can you get on a plane?
19:16How can, how soon can you get on that plane?
19:18When he arrived, I mean, first of all, he'd, you know, like done a buzz cut on his head.
19:23He looked like, he looked, you know, not like the David Halberg that we all knew.
19:29Yeah, he wasn't a prince anymore.
19:30Well, yeah, he was sort of, you know, grunge punk prince.
19:36The work was going to be hard.
19:38And for it to succeed, David had to surrender.
19:42In all, David was in rehab in Melbourne for 14 months and off the stage entirely for two and a
19:50half years.
19:51When I started in the studio, I closed all the windows.
19:55I went into a shell.
19:56I didn't want anyone watching me.
19:58And this was this kind of resistance of like, I don't want people to see me in this state.
20:04And when I finally opened the blinds, I had to completely give myself over to the team and find a
20:12new way of, of dancing.
20:14And they got you back on your feet and you got yourself back on your feet with them.
20:19And you, you returned to dancing.
20:21I did.
20:22I put in the work, but I could not have done it without them.
20:25Did it make you a better dancer?
20:30I was never the same.
20:32It made me better in terms of knowledge, but I know now that I was never the same dancer.
20:47I've never doubted that David would come back in a way that, um, he would still make an impact.
20:55To me, it was whether or not he'd want to, um, whether or not that was what he thought his
21:01next step should be.
21:02Is it to come back and continue on this path or is it to do something else?
21:07And he's thinking about what else can I do with what dance has given me.
21:20The next turn in David's phenomenal career came about when his good friend and artistic director of the Australian Ballet
21:27made a big decision.
21:30David McAllister shared with me that he was ready to leave after 20 years.
21:35And he took me aside and said, I think you're the next person to run this company.
21:42And I, like the Bolshoi offer, I was in shock.
21:48I went through the interview process, put my best foot forward and was given the phone call and without question
21:59accepted.
22:01Did it feel in part like repaying a debt?
22:05It absolutely did.
22:06It felt full circle.
22:08Right.
22:08It felt like now is my time to give to this company because this company gave me so much.
22:16When he was appointed, I just went, Oh my God, this is going to be exciting.
22:22And from the very first day, it's just been joyous actually to see the company do all those things that
22:31I knew was the reason why I stopped.
22:33I had to go to let someone get in and really just take these beautiful dances and shape them in
22:40a different way.
22:42Under David's leadership, the Australian Ballet is producing some of its most critically acclaimed work,
22:48balancing the classics against much more challenging repertoire.
22:53I think just a year after you started and you brought to Australia Kunstkammer,
22:57which is the landmark piece that the Netherland Dance Theatre had commissioned for themselves for their 60th anniversary.
23:04And it was choreographed by four great choreographers, wasn't it?
23:07Yeah.
23:08Paul Lightfoot, Sol Leon, Crystal Pite and Mark Ogeke.
23:11So this is an incendiary piece.
23:14And I've got to say, I'd never seen them work to such a standard of energy and attack and strength
23:21of line.
23:32Those four choreographers are on the bucket list of almost every ballet dancer.
23:38They were just like, we're doing what?
23:41What?
23:43It was rapturously received.
23:45That must have felt very gratifying because you were taking the company and yourself out on a limb with that
23:50one.
23:50I was, but I was convinced that the dancers would love the ride.
23:56And those gut instincts were correct.
23:59And then off you went to your commissioning pieces about Oscar Wilde, Christopher Wealdon's piece for the Australian Ballet, which
24:09was so unusual because it was an alternately tragic and then joyous representation of queer life within the context of
24:20ballet, which is always relentlessly heterosexual.
24:24I played a straight man my entire career.
24:27Yep.
24:28In my personal life, I am not a straight man.
24:31I was never given the opportunity to express that kind of love on stage.
24:36Yeah.
24:37And the dancers of the company were so proud to embody, portray queer experiences on stage, honesty on stage.
24:54How would you characterize the company of dancers under David?
24:57I just think that he's got a great eye for talent and he's got a really unique ability to just
25:05impart his knowledge to the dancers in a way that doesn't make them look like they're trying to be him.
25:21From first, we go demi-plié, close, other leg, close, roll through, six, seven, eight.
25:32Side.
25:35And first and fifth.
25:37In this room, is it about honing the skills? Is it also about somehow becoming an artist in the practice
25:44room? Or does that happen on the stage?
25:46Through rehearsal, that happens.
25:50But there's always this moment on stage that you can never find in the studio.
25:55And that's the moment of live performance.
25:57Yeah.
25:57And that's the beauty, I think, of this art form, is that it only happens once.
26:01But that can only get you there by all of these infinite, intricate little steps that will take you there
26:08that start at the bar with the tendu, with the plié.
26:12Show me your plié there, David.
26:14Starts with that.
26:15And then all builds up into the greatest leap.
26:19When I was being coached at Bolshoi by this fabulous coach, Sasha Vetrov, he told me he wants to see
26:28me exert 120% in the studio.
26:32So then when you get on stage, you're so accustomed to this adrenaline that you can just simply let go,
26:41let yourself go.
26:46On the other side, though, what about it do you miss of that height of performance?
26:52I miss the adrenaline after a show.
26:58Oh.
26:59I was terribly nervous as a performer.
27:03I was in my mind, even on stage, will I get this, here comes this lift, here comes this turn,
27:08here comes the solo.
27:09It was always with a sense of dread.
27:12But when I would finish a show and the show went relatively well, it was that adrenaline and, if I'm
27:21honest, a cold beer in the dressing room after.
27:24David, no wonder you ended up in Australia with an attitude like that.
27:29I know, I know.
27:30Aussie before I knew I was Aussie.
27:33Are you surprised he's gone on to become an artistic director of a company himself?
27:38I am not.
27:39I am not at all.
27:40I just feel like David has always been a leader.
27:44You know, I can just remember from the time we were teenagers and the way that he walks in a
27:49room, the things that matter to him and how he speaks up and kind of advocates for his people, you
27:56know, as dancers.
27:57I started that first applause.
27:59Did you?
28:00Yeah, you deserved it.
28:02And I think what he's done though, he's bought that, you know, layer to the company, but they haven't lost
28:09that exuberant Australian energy.
28:14You know, you still can tell it's the Australian ballet, but it's the Australian ballet with a bit of buff
28:20and polish.
28:23I just see what I inherited and I'm just twisting it and altering it and asking for more and asking
28:30for different.
28:31Yeah.
28:32So we have gone off the edge a bit, but I don't want this company to ever lose that sense
28:40of warmth and Australian humility really on the stage to their audiences.
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