Collective creativity shines in new ballet

Collaboration lies at the heart of Dr Sarah Foster-Sproull’s creative process and her latest ballet, To Hold, promises to keep this tradition alive.

The work by the acclaimed choreographer and Dance Studies senior lecturer is part of the Royal New Zealand Ballet’s latest offering, Solace: Dance to feed your soul, which will light up stages in Wellington, Auckland and Christchurch from 1 to 17 August.

Foster-Sproull has dedicated over a decade to the art of choreography, working closely with dancers to bring her vision to life. Over the years, her works have explored a wide range of themes and forms, from grand performances involving up to 100 dancers to intimate duets.

To Hold is Foster-Sproull’s fifth work for the Royal New Zealand Ballet since her appointment as Choreographer in Residence in 2020 and it exemplifies this dynamic and collaborative approach. In crafting the work, she engaged closely with the dancers, providing a structured framework while allowing them the freedom to interpret and develop the material in their own unique ways.

This collaborative spirit was further enriched by her long-term creative partner, Rose Philpott, a Dance Studies PhD student and choreographer. Together, they developed parts of the work during a 2023 residency at the Centre for Ballet and the Arts at New York University.

“I made To Hold as a culmination of large image-based choreographies that I've created over the last ten years, using hands predominantly to construct shapes like wings and spines. This work uses this previous research to explore the conscious and subconscious mind, and the relationship between parents and a child going through a challenging time,” Foster-Sproull says.

“I hope the audience think about the ways that they show up for the important people in their lives. I hope they feel moved by what we've created, and they see the value of the arts as a key mode of expressing our Aotearoa New Zealand stories and experiences.”

Despite the fast-paced nature of the choreographic process, Foster-Sproull embraced the challenge.

“I am comfortable now working at great speed, while still finding the creative edge and inspiration to spur on the creative process.”

The ballet is set to a score by local composer Eden Mulholland, another long-standing collaborator of Foster-Sproull. Their creative partnership spans 15 years, allowing Mulholland to craft music that perfectly complements and enhances the choreography.

“We are great friends, and he knows my music tastes and inclinations. How the music is structured has had a significant impact on the choreographic flow of this work. I have tried to match each nuance of his astounding score with the corresponding energy.”

The costumes, designed by Donna Jefferis, further enrich the choreography by highlighting the visual and thematic elements of the work.

“Donna and I have also been working together for a long time, and her costumes are like the icing on the cake of the choreography. The costumes generally come later, in reference to the needs of the movement or themes of the work and in response to creative conversations,” she says.

Overall, Foster-Sproull views To Hold as a culmination of her creative explorations.

“I am looking back to look forward in my artistic work now. I love the chance to work with such wonderful dancers on a big production like Solace. The Royal New Zealand Ballet has become an important creative home for me, and I am grateful for their ongoing support of my work locally and globally.

For information and tickets, visit the Royal New Zealand Ballet.