Graeme Lloyd Murphy Quotes

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

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

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.

We also tour nationally and internationally.

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

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

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

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

Mostly, I’m in the very enviable position that no one dictates what I do.

It’s the emotional trigger points that are important to me because I know if I could believe in the characters and try and imagine how they felt then I’d be able to do something quite honest.

It’s not a company of exponents of my style.

If the year 2000 can help us move into the future, that’s fine, but I am afraid that people see it as a full stop and that one can take a big breath afterwards – you can’t.

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

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

I’m in the position to pick the cream of the crop.

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.

I think the Olympics could help us reach more people.

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

I mean, I think in the early days we were pretty… pretty British in our entertainment leads.

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