Francois Klaus

French-born François Klaus began his ballet studies with Russian teacher Julie Sedova, then Marika Besobrasova. He joined Stuttgart Ballet under John Cranko. Appointed soloist by Cranko in Munich, he danced his first leading role as Siegfried in Cranko’s Swan Lake and was promoted to principal dancer.

Moving to Hamburg, François was 18 years Principal Male Dancer of Hamburg Ballet under the direction of John Neumeier. He created the male leads for a large part of Hamburg Ballet’s current repertoire. François toured extensively with the company through Europe, North and South America and Japan, and in 1981 his performance in Neumeier’s Mahler III was selected Most Outstanding Performance of the Year by an established artist, by American Dancemagazine.

In 1991, François was appointed Artistic Director and Chief Choreographer of Bern State Ballet in Switzerland, where in 1994 he subsequently established his own company, Ballett Art. His work was recognised in Switzerland by the Doron Cultural Prize in 1996.

Mid-1997 Francois began his tenure as Artistic Director and Chief Choreographer for Queensland Ballet, which he continued until December 2012.  He created more than 100 ballets for the Company, including the immensely popular Brisbane-based story Cloudland. Recognition included nomination for a Helpmann Award in 2002, Centenary Medal for distinguished service to the arts in 2001, and an honorary doctorate with Griffith University in 2012. François became an Australian citizen in 2001.

Under François’ Artistic Direction and Judith Anderson as General Manager, Queensland Ballet undertook three tours to Europe (2006, 2007 and 2009), to great public and critical acclaim for the original Australian works presented.

Many of these creations were the result of collaboration with Australian musicians, who toured and performed in Europe with the company: indigenous composer and didgeridoo player William Barton (Timeless Dances), Taiko drummers Kerryn Joyce and Kevin Mann (Awakening) and Sean O’Boyle and Blackwood ensemble (Cloudland.)

Queensland Ballet also toured to Singapore in March 2007, Japan in 2008 and China in 2011 with François’ popular choreographies for young audiences, Alice in Wonderland (Singapore) and The Little Mermaid (Japan and China).

Since 2013 François works as guest choreographer and with his wife Robyn as international guest teachers. Professional engagements have included Béjart Ballet Lausanne, Les Ballets de Monte Carlo, Singapore Ballet, Vienna State Ballet, Zurich Ballet, Leipzig Ballet, Hannover Ballet as well as Hamburg Ballet School and L’Academie de la Princess Grace de Monaco.

Robyn White

Robyn White was born in Townsville, Australia  and received her early dance training in Mackay before becoming the first Queensland winner of The Australian Ballet Society’s bursary to the Australian Ballet School. She was the first graduate to be offered a contract with John Cranko, then Artistic Director of the Stuttgart and Munich Ballet Companies.  Robyn subsequently accepted a contract with Hamburg Ballet under the directorship of John Neumeier. She was promoted to soloist and danced principal roles in many Neumeier ballets, including A Midsummer Night’s Dream, As You Like It, The Sleeping Beauty, The Nutcracker, Swan Lake, King Arthur’s Saga, and Petrushka Variations.  She also performed principal roles in the Balanchine ballets Agon, Divertimento, and Four Temperaments, as well as in works by choreographers Felix Blaska, Gigi Caciuleanu and Rudi von Danzig.

Robyn was appointed Artistic Associate at Queensland Ballet from January 1999 until December 2012, acting as chief company coach and also assisting in the development of new works. Together with Artistic Director Francois Klaus she founded the Professional Year program in 1999, an elite training program intended for a small number of students bridging the gap from student to professional dancer. The program combined classical and contemporary dance training with associated musical and theatrical disciplines; it also actively incorporated students in company training and performances. Robyn was also responsible for establishing and developing the Junior ExtensionProgram (2002) and the Ballet Stream of the Queensland Dance School of Excellence (2011) for younger students, acting as principal teacher and coordinator for all three programs until December 2012.

Robyn’s international  professional teaching credits include the Bern Ballet, Switzerland, and guest teacher for the Semper Oper Dresden, Monte Carlo Ballet, Bejart Ballet Lausanne, Hamburg Ballet School, L’Academie de la Princess Grace de Monaco, Zurich Ballet, Berlin, Leipzig Ballet,  Hannover Ballet, West Australian Ballet and Singapore Ballet. She has also conducted master classes for the Swiss Ballet Teachers Association involving  ballet students selected from across Switzerland.

What are the requirements for the Intensive Ballet Program?

• Half Day Program: Students aged 11 – 13 years old, female students need not be en pointe already.
• Full Day Program: Students aged 13 – 19 years old, female students must be en pointe already.

My child is RAD Grade _____ and aged _____, which level should he/she go for?

• The requirements for the Intensive Ballet Program is dependable on the student’s age.

My child is 13 – 19 years old but he/she is not able to commit to the schedule as given. Am I able to register my child in the Half Day Program?

• Participants must be able to commit to the scheduled indicated to entirely benefit from the program. The Half Day Program is only for 11 – 13 years old students, with female students not requiring to be en pointe.

We are coming from overseas, where would SB recommend as a good accommodation service provider?

• Overseas students can quote (SB x Wilby) to Wilby Central Serviced Apartments (2 mins walk from/to SB) for a special accommodation rate for IBP participants! A staff will liaise with the student/parent after the registration. 

My child is 13 – 19 years old but he/she is not able to commit to the schedule as given. Will we be able to choose which days to attend and have our fees prorated?

• We would not able to pro-rate fees and all students signed up for the program are required to attend all classes indicated.