Find the best quotes by Graeme Murphy.
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…
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…
I wanted to give people – which is fairly bizarre considering my whole life is contemporary dance really – I wanted to give people a…
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…
But I also wanted to give them an intelligent emotional journey, without having to suspend reality – to be able to look at those characters…
For me it was really important to get the essence out of the music for the story and not, sort of, press the music into…
We moved, and there was a golden era in the ’40s when we were so conscious of who we were as Australians.
Yes, Carl Vine stuck around. He’s now number one composer for choreography.
There’s a line of dancers waiting to get into Sydney Dance Company.
We also tour nationally and internationally.
Sydney is a very good market for us – we have a very strong following here.
No one was creating and I always wanted to be created on.
Normally our season is seven weeks in the Drama Theatre and four weeks in the Opera Theater.
It’s not a company of exponents of my style.
Mostly, I’m in the very enviable position that no one dictates what I do.
I’m thrilled at the moment because our audiences, you know, they… the demographic is 50% male.
I think the Olympics could help us reach more people.
I’m interested in people who can take the movement somewhere.
I don’t think people we’ll miss the fact that SDC is way up there and that our profile is high.
I mean, I think in the early days we were pretty… pretty British in our entertainment leads.
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